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Born in Oakland, CA in 1901, Harry Partch was an American composer, theorist, instrument designer and performer. He is best known for the work he did with just temperment: developing a 43 tone octave scale, writing pieces to showcase it, and building instruments upon which it could be played. His musical knowledge was largely self-taught and his interest in intonation emerged out of microtonal experimentation conducted on string instruments. Many of his thoughts on the matter are outlined in his 1947 treatise,
By the early 1950s, he had established the Gate 5 Ensemble and record label and begun a musical partnership with fellow composer Ben Johnston that would take him to the University of Illinois in 1956, where Johnston was then teaching. While at Illinois, Partch premiered his large stage work,
This Collection is indexed under the following controlled access subject terms.
In 1975 the Music and Performing Arts Library acquired a set of scores reproduced from Partch's vellum masters through Irv Wilson. The Music and Performing Arts Library Harry Partch Collection was created in 1978 by Professor Ben Johnston and Thomas McGeary for the purpose of collecting relevant material documenting the life and musical work of Harry Partch. The impetus for the Collection was a donation by Lauriston C. Marshall of a group of tapes, recordings, documents, and letters. Over the following decade, many more accretions were added to the archive. Much of the work of collecting, organizing, and cataloging the material has been make possible through a generous grant to the Archive made by Betty Freeman in 1986.
Artificial collection from multiple sources.
Many accruals between 1975 and 2015, both in the form of individual collections and individual items.
Series 1: BMI Collection consists of the complete contents of their publicity file about Partch; given in December 1987.
Series 2: Jean Cutler Collection consists of a group of materials documenting Jean Cutler's association with Partch from 1962 to 1970; collection purchased from Jean Cutler in June 1996.
Series 3: Oliver Daniel Collection consists of photocopies (and some originals) of correspondence and articles between and about Partch and Daniel; obtained ca. 1988.
Series 4: Betty Freeman Collection consists of recordings of rehearsals, performances, and interviews, correspondence, transcripts, and publications; the bulk of the collection was donated in January 1979, with supplements in later years, especially 1999.
Series 5: John Simon Guggenheim Memorial Foundation Collection consists of photocopies of materials in the John Simon Guggenheim Memorial Foundation files.
Series 6: Barnard Hewitt Collection consists of original materials from Barnard Hewitt ; given in 1978.
Series 7: Robert Kostak Collection consists of original materials; purchased from Kostka in November 1987.
Series 8: Lynn Ludlow Collection consists of original and photocopies of brochures, programs, announcements, newspaper and magazine clippings; given in April 1989.
Series 9: Lauriston C. Marshall Collection consists of materials relating to Harry Partch; given to the University of Illinois Music Library by Larry and Lucie Marshall between 1976 and 1980.
Series 10: Danlee Mitchell Harry Partch Collection consists of personal materials relating to Partch; Donated in 1991 on the occasion of a commemorative concert to honor the retirement of Jack McKenzie as Dean of Fine and Applied Arts at UIUC.
Series 11: Stephen Pouliot Harry Partch Collection consists of materials given to the Archive by Stephen Pouliot, in 1990 and 1998.
Series 12: Peter Yates Harry Partch Collection consists of photocopies of materials available in the University of California, San Diego's Mandeville Special Collections Library's Peter Yates Collection.
Series 13: Subject Files consists of original materials collected or created for the Archive, not part of individual collections above.
Series 14: Musical Scores consists of blue-line original or photocopies of Partch autograph scores; assembled from various sources.
Series 15: Photographs consists of photographic material (slides, prints, and negatives transferred from various collections and/or folders.
Series 16: Bibliography Project files consists of originals or photocopies of articles (or sections in books) published about Partch.
Series 17: Oral History Tapes consists of recordings of interviews with or about Partch.
Series 18: Performance Tapes consists of recordings of performances and lectures.
Series 19: Microfilms, slide strips, video tapes and films consists of items in the titular formats.
Series 20: Philip Blackburn Harry Partch Collection consists of materials collected and created by Philip Blackburn in relation to his INNOVA and
Series 21: Kenneth Gaburo Papers consist of materials related to
Series 22: Oversize Materials consists of photograph and posters of Harry Partch and his instruments.
Series 23: Madeline Tourtelot Harry Partch Collection consists of Madeline Tourtelot's own cassettes, tapes, and a book that had been given to Philip Blackburn in relation to his
Series 24: Duplicate Tapes consists of 15 1/4" audio tapes made as listening copies by the Music and Performing Arts Library's Special Collections department. These tapes were transferred from MPAL Special Collections in April, 2015, and correspond to the tapes listed on pages 87 to 93 of the
Consists of books, music, films, personal papers, artifacts and sound recordings collected by the staff of the Music and Performing Arts Library and the University of Illinois School of Music documenting the life and career of Harry Partch, and those associated with him, throughout his career as a composer and writer.
See also record series number 35/3/68.
Complete contents of Broadcast Music, Inc. publicity file about Partch; given in December 1987.
Copies of preliminary scenarios and introductory essay; presumably sent to Oliver Daniel ca. 1956. The Bewitched: A Dance Satire by Harry Partch (2 pp.) and "Some New and Old Thoughts After and Before The Bewitched" (33 pp.)
A group of materials documenting Jean Cutler's association with Partch from 1962 to 1970. Collection purchased from Jean Cutler in June 1996. Also shelved are Culter's group of Gate Five recordings. Especially important are the typescripts of various unpublished writings by Partch, and the folder of documentation for the University of Illinois production of "Revelation", which Cutler choreographed. Both appear to be unique and very important sources. NOTE: Some of the Jean Cutler Collection not related to Partch has been described as a separate record group, see the finding aid for the Jean Cutler Theatrical Films, Audio Recordings and Papers, 1959-1995 to access this material.
Correspondence regarding obtaining the collection, including Cutler's summaries of contents of 1/4" audio tapes and inventories of his collection
(16 pp.), with several timings added in ink
6 unnumbered pp.
(1) Typescript carbon of essay "A Modern Parable -- I" (3 pp.) dated "New York City, Spring, 1933." (2) Typescript carbon of essay "A Modern Parable -- II" (3 pp.) dated "Camp Devore, Cajon Pass, San Bernardino County, April 26, 1938"
Typescript carbon of Harry Partch's essay (3 pp.) dated "Champaign, IL, September 1960"
11 pp., by Harry Partch, Petaluma, California
Includes a general discussion of Harry Partch's musical ideas with commentary on short recorded excerpts of music (14 pp.), with paste overs and pencil corrections. (On back of last page, is Danlee Mitchell's address at San Diego State College)
Dated "Van Nuys, Calif., December 30, 1964". (7 pp.) With Partch's letter to Jean Cutler (January 4, 1965)
(27 pp.) dated "September 5, 1959"; scenario includes sketch of fountain, and stage-floor plan for Chorus I; other ink descriptions or vocal lines
Copy of Columbia Bonus Record (6 3/4" black vinyl; Stereo BTS 17), with excerpt of Partch's "Castor and Pollux" among works of other composers
Concert, lecture, festival, and recording notes, programs, and brochures
Jean Cutler manuscript rehearsal notes with blueprint of stage floorplan for "Revelation"
Film release forms for the film "The End of Life Is Perception-- Harry Partch" and letters from Partch to Cutler; letter from Linda Schell
Jean Cutler's notes and correspondence for his uncompleted film "The End of Life Is Perception"
Shot lists and editing record for Cutler's unfinished film about Partch, "The End of Life Is Perception", 1 of 3, shot and edge numbers correspond with those listed on film canisters in box 2
Shot lists and editing record for Cutler's unfinished film about Partch, "The End of Life Is Perception", 2 of 3, shot and edge numbers correspond with those listed on film canisters in box 2
Shot lists and editing record for Cutler's unfinished film about Partch, "The End of Life Is Perception", 3 of 3, shot and edge numbers correspond with those listed on film canisters in box 2
16 mm color acetate film, core 2, shots 1-8, edge numbers 57798-57558
16 mm color acetate film, outer edge starts with shot 33 and edge number 00202
16 mm color acetate film, outer edge starts with shot 55 and edge number 51359
16 mm color acetate film, "unformatted color," shots 57-72, outside edge numbers 82204 - 83004
16 mm color acetate film, "H 821_ 72 B," outer edge starts with shot 65 and edge number 82593
16 mm color acetate film, outer edge starts around shot 65 and edge number 82751 and up
16 mm black and white acetate film, "Instruments (Partch) Being Played," outder edge starts with edge number 61157, "Shots 27, 126, 127, 206, 224-228," "Core 3"
16 mm black and white acetate film, "Partch Instruments," "Shots: 191-194, 196, 214, 215-223, 237, 239, 241, 243," outder edge starts with number 80973
16 mm black and white acetate film, "still shots and studio," outer edge starts with edge number 62486 and lower, near shot 302
16 mm black and white acetate film, outer edge starts with edge number 36660 and higher, around shot 356, "H 356"
16 mm black and white acetate film, "lite 25," outer edge starts with edge number 36446 and lower, near shot 363I
16 mm black and white acetate film, outer edge numbers 25258-24459, shots 364-365, original labelling incorrect per note included in film cannister
16 mm black and white acetate film, includes edge number 36009/shot 358D and 24781 and higher/near shot 388, "H3T86 T358"
16 mm black and white acetate film, outer edge starts with edge number 25258 and lower, near shot 399
16 mm black and white acetate film, outer edge starts with edge number 80973 and lower, near shots 412-416, "lt-416 T-412"
16 mm black and white acetate film, outer edge starts with edge number 81509 and higher, near shot 428, "XT-D429"
16 mm color acetate film, outer edge starts with edge number 99797 and higher, near shot 26; original label description included in film cannister-appears to be inaccurate
16 mm color acetate film, outer edge starts with edge number 82974, near shot 72, "instr. being played"
16 mm black and white acetate film, outer edge starts with edge number 25274 and higher
16 mm black and white acetate film, outer edge starts with edge number 23773 and higher, "T-475"
16 mm polyester magnetic film stock for sound film, "content reformatted"
16 mm polyester reel with no images apparent on outside edge
16 mm magnetic polyester film stock for sound film, original label states "Reformatted 1 of 3"
16 mm magnetic polyester film stock for sound film, original label states "Reformatted 2 of 3"
16 mm magnetic polyester film stock for sound film, original label states "3 of 3 plus HP voice track"
1/4 inch acetate tape. Cutler annotation: "Begins with Web Smalley talking about directing - then Harry first interview - St. Paul's letter to the Corinthians - Hobo in Phoenix - nightwatchman - father wrote Chinese - permutation of no and not - relationship of Greek and Chinese." Cutler reel # 4
1/4 inch acetate tape. Cutler annotation: "Has part of the Potion Scene anecdote - the rest is on 16 mm - also talks about the Delusion film." Cutler reel #1
1/4 inch acetate tape. Cutler annotation: "Mother, Father, Frieda, Yates, Lou Harrison, Arch Lauterer, Garvey, MacKenzie, Talbot." Cutler reel #2
1/4 inch acetate tape. Cutler annotation: "Columbia recording - Delusion rationale - John McLure, Judith Anderson - opera - the 'Visual-Musician' - Americana - Hobo speech - Barstow - Newsboy - U.S. Highball - Walt Whitman." Cutler reel #3
1/4 inch acetate tape. Cutler annotation: "Hobo days - migrant worker - the Inner ear - the pleasure in learning - his fist review - 'Music cannot divorce itself from acoustic' - 'I can understand hermits' - the religious quality of Greek mythology." Cutler reel #5
1/4 inch acetate tape. Cutler annotation: "'I refuse to strain after explanations ... I want to stress the thing itself.' - electronic tapes = the individual is lost. People read, but you don't what effect your writing will have." Cutler reel #6
1/4 inch acetate tape. Cutler annotation: "intuition - chaos - explanations - Hoopa Indians - totem poles - Capt. Cook's artist." Cutler reel #7
1/4 inch acetate tape. Cutler annotation: "Hoopah Indians rhythm of 13 and of 11 - Zulus speech - rituals - rhythm and breathing." Cutler reel #8
1/4 inch acetate tape. Cutler annotation: "drums - procession - Edison recordings - Pueblos - Zunis - Hopis - Partch sings - congo puberty ritual - mathematics - paradox - perception." Cutler reel #1x
1/4 inch acetate tape. Cutler annotation: "U.S. Highball - the use of the subjective voice - conversations - sign - experiences as a hobo - places he has lived." Cutler reel #3x
1/4 inch acetate tape. Cutler annotation: "Frieda - St. Louis - play - 'The Wooden Bird' - Harry and Ben Johnston - Will Leach - Collette - 'The Child and Sorcerer' - Anecdotes re: (?) perfect pitch - John Cage and Harry in polarity - the trouble with old men." Cutler reel #4x
1/4 inch acetate tape. Cutler annotation: "Yeats - Oedipus - Bucky Fuller - poetry - his arguments for 'Revelation,' 'Oedipus,' 'Delusion,' and 'The Dreamer' - chaos." Cutler reel #2?
1/4 inch acetate tape. Cutler annotation: "Carnegie International - Edward R. Murrow - British Museum - Italy - London - U.S.A. - Los Angeles - Sacramento - hobo speech - 'Bitter Music' - Guggenheim. Note: Contact with Idaho publisher - also, microfilm to L.C. Marshall." Cutler reel #5x
1/4 inch acetate tape. Cutler annotation: "generation gap - beatniks, hippies, and hobos - his music required his instruments." Cutler reel #6x
1/4 inch acetate tape. Cutler annotation: "Partch edited voice track transferred to 16mm magnetic - mundane subjects - Partch rebellious nature." Cutler reel #u
1/4 inch polyester tape. Cutler annotation: "Partch music - various short reflections - plus an extended selection from U.S. Highball - coda from Revelation." Cutler reel #v
1/4 inch polyester and acetate tape spliced together. Cutler annotation: "Partch Music, Master Tape #1." Cutler reel #Q
1/4 inch acetate tape. Cutler annotation: "Partch interview II."
1/4 inch acetate tape. McGeary finding aid title "Cutler tape AA"
1/4 inch acetate tape, recorded at at 3 3/4 ips. Cutler annotation: "Water Water, 1st through 6th Prologues plus some of 7th, at 3 3/4, Feb 8, 1962." McGeary finding aid title "Cutler tape BB"
1/4 inch acetate tape recorded at 7 1/2 ips. Cutler annotations included in reel box. McGeary finding aid title "Cutler tape CC"
1/4 inch acetate tape. Cutler annotations included in reel box. McGeary finding aid title "Cutler tape EE"
1/4 inch acetate tape. Cutler annotation: "Revelation in the Courthouse Park:" Rehearsal Tape with John Garvey singing: Chorus 4, Scene 4, Coda, plus Rotate the Body in All Its Planes. "Cutler tape #FF"
1/4 inch acetate tape. "Cutler tape GG"
16 mm acetate film, see series 2, box 2, folder 1 for shot description, shots 9-25, core 3, "reformatted, 2 of 2"
16 mm sound film
Copy inscribed: "For Jean Cutler in / infinite gratitude / Harry". Gate 5 Records - Issue No. 6. 10 inch LP
Copy inscribed: "For Jean, Nina, Gigi, Laurence / Sean - Harry, March 1970". Gate 5 Records - Issue F. 12 inch LP
First copy is inscribed: "For Jean, Nina, Genevieve, with thanks for pioneering my appearances at the / University of Oregon (I hope they will not prove fatal!) / and your kind hspitality / Harry - Feb. 29, 1964". Second copy is inscribed: "For Jean + Nina + Gigi + Laurence + Sean - Harry". Gate 5 Records - Issue E. 12 inch LP (the second copy is only the sleeve with no record enclosed)
Copy inscribed: "For Jean + Nina + Gigi + / Laurence + Sean - Harry / March, 1970". Gate 5 Records - Issue D. 12 inch LP
Copy inscribed: "For Jean + Nina + Gigi + Laurence + Sean - Harry / March, 1970". Gate 5 Records Issue B. 12 inch LP
Copy inscribed: "For Jean - with thanks for dedicated / film work, with incidental rock / music / Harry, March, 1970". Gate 5 Records - Issue A. 12 inch LP
Photocopies (and some original materials) in the possession of Oliver Daniel
Correspondence from Donald Ott
Including sheet of pull quotes; "Statement", (31 May 1960), (4 pp.)
Includes correspondence with Carl Haverlin and Gerd Stern.
Clippings and photocopies of articles about Oliver Daniel and Harry Partch
Betty Freeman met Partch in Pasadena in 1964 and became one of his most important friends, patrons, and sponsors. She helped Partch locate studios, found the Harry Partch Foundation, arrange for the production of "Delusion of the Fury" at U.C.L.A., shared with Partch the purchase of his home in Encinitas, and produced the prize-winning documentary "The Dreamer that Remains". The bulk of the collection was donated in January 1979, with supplements in later years, especially 1999.
10 16 mm acetate and polyester film fragments. Betty Freeman's annotation: (1) "Scenes of Partch exercising not used in film. Hanging clothes scene was used partially. Worth doing. No sound Mos." and (2) "Partch in Rose Petal Jam Scene. Not used in film. Already edited as we were going to use it, then decided not to. Extremely valuable. Sound and film."
15 16 mm acetate and polyester film fragments. Betty Freeman annotation: "Could be fun to put this together. Rehearsal scene. A lot was not used in the film. Sound and film."
7 16 mm polyester and acetate film fragments. Betty Freeman annotation: "Could be fun to put this together. Rehearsal scene. A lot was not used in the film. Sound and film."
8 16 mm polyester and acetate film fragments. Betty Freeman annotation: "Could be fun to put this together. Rehearsal scene. A lot was not used in the film. Sound and film."
14 16 mm polyester and acetate film fragments. Betty Freeman annotation: "Could be fun to put this together. Rehearsal scene. A lot was not used in the film. Sound and film."
9 16 mm polyester and acetate film fragments. "Ektara" and "Belly Drum and Gumbo" scenes. Betty Freeman annotation: "Not used at all in the film. Should be most valuable. Partch demonstrating Inst. Sound and film."
7 16 mm polyester and acetate film fragments. Betty Freeman annotation: "Ektara and Belly Drum and Gumbo Scenes. Not used at all in the film. Should be most valuable. Partch demonstrating Inst. Sound and film."
7 16 mm polyester and acetate film fragments. Betty Freeman annotation: "Ektara and Belly Drum and Gumbo Scenes. Not used at all in the film. Should be most valuable Partch demonstrating Inst. Sound and film." Also includes scenes "Bass Dyan" and "Mos Reactions."
1 16 mm polyester film reel. Labelled: "Duad/not coded." Betty Freeman annotation: "Harry making the Bass Dyad. Parts were used in the film but these remaining parts would be most interesting. No sound. We used background music and voice over"
1 16 mm acetate film reel. Betty Freeman annotation: "Harry making the Bass Dyad. Parts were used in the film but these remaining parts would be most interesting. No sound. We used background music and voice over."
4 acetate and polyester 16 mm film fragments. Betty Freeman annotation: "Harry making the Bass Dyad. Parts were used in the film but these remaining parts would be most interesting. No sound. We used background music and voice over."
2 16 mm polyester film fragments. Betty Freeman annotation: "Harry making the Bass Dyad. Parts were used in the film but these remaining parts would be most interesting. No sound. We used background music and voice over."
16 mm color acetate sound film on 12" reel; 30 minute duration, formerly MP Film/ M1527/P27D73
Copies made in 1979. Correspondence dates from 1964-1974.
Mostly relating to films and concerts in southern California in the 1960s
Included are letters from Peter Yates, Steven Pouliot, John McClure, Oliver Daniel, Harold Spivacks, Lou Harrison, Jean Cutler, Virgil Thomson, John Cage, Pauline Oliveros, Jacques Barzun. Also included are originals and photocopies of letters to and from Betty Freeman regarding Partch.
Originals and photocopies
Originals and photocopies of letters with various administrators about Partch's appointment
Originals and photocopies
Originals and photocopies of correspondence, contracts, and publicity material
Originals and photocopies of correspondence, minutes, and publicity materials
Originals and photocopies of letters, contracts, and receipts
Photocopy (22 pp.)
(1) Partch's original (and rejected) scenario for The Dreamer that Remains (27 May 1972) (6 pp. with pencil annotations by Betty Freeman) and (2) Copies of a portion of chapter 14 of Genesis of a Music dealing with "Delusion of the Fury"
Originals and photocopies of list of premiere invitees, correspondence, publicity material, order forms, and television listings
Original typescripts and photocopies; speakers in Harry Partch, Danlee Mitchell, Jim Aitkenhead. (Gift in January 1979)
Copies and some originals of various research material about Partch; texts to Barstow (3 pp.), "The Dreamer That Remains" (22 pp.); text of interview with Henry Brant (1985)
Includes photocopy of 1945 essay on quartertones and correspondence regarding removal of Partch instruments from Purchase College
Inscribed by Partch 22 April 1965 with a dedication to Betty Freeman
Excerpts
(enclosed with Betty Freeman Collection tape no. 1)
Casette tape
16mm film on 9" reel, 30 minutes, [formerly MP Film/M1527.P27D73]
16 mm film on 9" reel, 10 minutes, "film of the composition only"
1/4 inch polyester tape on reel, 2-track stereo, 7 1/2 ips, see enclosure and box 7, folder 1 for contents
1/4 inch polyester tape, 1/4 track stereo, 3 3/4 ips, tail out
Casette tape of interview by Lianne Hanson about Harry Partch broadcast on NPR radio
Casette tape of November 22, 1986 interview with Betty Freeman about Partch, 1 of 2
Casette tape of November 22, 1986 interview with Betty Freeman about Partch, 2 of 2
Two 16 mm film fragments, probably from "Dreamer that Remains"
Casette tape of American Festival of Microtonal Music with a performance of "U.S. Highball" and "Barstow," given to Betty Freeman by Johnny Reinhard
CD recording by Syzygys. Betty Freeman annotation: "The Japanese lady has made her own Partch Chromelodeon, written songs for it, and concertizes with the violinist in night clubs. She presented me this CD in Feb. 1990 when I made a photography exhibition in Tokyo."
Photocopies of materials in the John Simon Guggenheim Memorial Foundation, New York, files. Presumably not included are reference letters from third parties.
Photocopies of correspondence and enclosures
Photocopies of application materials and related correspondence
Photocopies of application materials and related correspondence
Photocopy of application
Photocopies of application materials and correspondence
Photocopies of correspondence
Photocopies of correspondence
Original materials given by Barnard Hewitt in 1978. Note: Hewitt's set of Gate 5 records have been catalogued and shelved separately in Special Collections; a tape of Partch's Revelation radio lecture-demonstration has been catalogued as Harry Partch Archive Tape 13.
Inventory prepared by Barnard Hewitt
Originals and copies. Included are Pierre Schaeffer, John Garvey, UIUC administrators, Oliver Daniel, and Jacques Barzun.
Copy of libretto for Revelation in the Courthouse Park with paste-over corrections by Partch and annotations by Hewitt
16 pp.
Includes Hewitt's pencil annotations
Programs and notes for Partch productions including "The Bewitched", "Delusion", "Water! Water!", "Revelation"
1/4 inch acetate tape prepared for WNYC radio, New York, by Partch. Contains excerpts from "Revelation in the Courthouse Park" and a spoken introduction by Partch. Tape sent January 1962; aired Feb. 16, 1962 (see correspondence in Barnard Hewitt Collection, box 8, folder 12). Program enclosed.
Complete collection of original materials purchased from Kostka in November 1987
Two slides of record album cover for "30 Years of Lyric and Dramatic Music"
Copy of introductory essay and tentative film script (29 pp.) (Yellow Springs, Ohio)
Includes correspondence, clippings, and original brochures for early subscription recordings
Original and photocopies of brochures, programs, announcements, newspaper and magazine clippings, given in April 1989
Programs, notes, announcements, recording subscription brochures for Music by Harry Partch, "Water! Water!", "Oedipus", "Bewitched" (at Columbia University), UCLA lecture-concert, "Revelation"
Includes microfiche of San Francisco Examiner clip file on Partch
The Lauriston C. Marshall Harry Partch Collection consists of materials relating to Harry Partch given to the University of Illinois Music Library by Larry and Lucie Marshall between 1976 and 1980. The collection provides important documentation for Partch's activities especially between 1949 and 1952 due to the documentation arising from the John Simon Guggenheim Memorial Foundation grants shared by Partch and Marshall. As a precaution, Marshall had many of Partch's compositions and journals microfilmed, thus preserving several otherwise lost compositions and journals. A more comprehensive biography of Marshall can be found in Box 11, Folder 1 "Correspondence regarding establishment of Marshall Collection." Arrangement note: related correspondence may be found in adjacent folders in sub-series two.
Listening copies of recordings in sub-series 1 are available at the University of Illinois Music and Performing Arts Library Special Collections, call number TAPE M3.1P37 U5. See Appendix I of the Guide to the Collection linked above for an index of these tape copies.
"Plectra and Percussion Dances", 12 in. master stamper copper disc, possibly for 1953 self-released edition (stampers do not appear to match the 1957 Gate 5 edition, found in box 35). Can not be played. Matrix # HP-1 (reversed). Copy 1. See folder one for original paper sleeve.
"Plectra and Percussion Dances", 12 in. master stamper copper disc, possibly for 1953 self-released edition, (stampers do not appear to match the 1957 Gate 5 edition, found in box 35). Can not be played. Matrix # HP-2 (reversed). Copy 1. See folder one for original paper sleeve.
"Plectra and Percussion Dances", 12 in. master stamper copper disc, possibly for 1953 self-released edition, (stampers do not appear to match the 1957 Gate 5 edition, found in box 35). Can not be played. Matrix # HP-1 (reversed). Copy 2. See folder one for original paper sleeve.
"Plectra and Percussion Dances", 12 in. master stamper copper disc, possibly for 1953 self-released edition, (stampers do not appear to match the 1957 Gate 5 edition, found in box 35). Can not be played. Matrix # HP-2 (reversed). Copy 2. See folder one for original paper sleeve.
Side 1: "Discourse" and Sample Passages / Side 10: Intrusions: Dark Brother II", 12 inch 78 rpm stamped broadcast disc, Radio Recorders, Santa Monica, CA.
Side 2: "Discourse" and Sample Passages / Side 9: Intrusions: Dark Brother I", 12 inch 78 rpm stamped broadcast disc, Radio Recorders, Santa Monica, CA.
Side 3: "Intrusions," "1.Greek Anharmonic Scale" and "2. Phrygian Suite" / Side 8: "Intrusions", "12. Cloud Chamber Music", 12 inch 78 rpm stamped broadcast disc, Radio Recorders, Santa Monica, CA.
Side 4: "Intrusions", "3.The Rose", "4. The Crane", and "5. The Wind" / Side 7: "Intrustions", "10. Lover" and "11. Soldiers", 12 inch 78 rpm stamped broadcast disc, Radio Recorders, Santa Monica, CA.
Side 5: "Intrusions", "6. The Waterfall" and "7. The Letter" / Side 6: "Intrustions", "8. The Street" and "9. Vanity", 12 inch 78 rpm stamped broadcast disc, Radio Recorders, Santa Monica, CA.
"1. The Rose", "2. The Crane", "3. The Wind", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 8 for final pressing.
"1. The Waterfall" and "2. The Letter", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 9 for final pressing.
"1. The Street" and "2. Vanity", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 9 for final pressing.
"1. Lover" and "2. Soldiers", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 8 for final pressing.
"Cloud Chamber Music", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 7 for final pressing.
"Dark Brother 1", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 6 for final pressing.
"Dark Brother 2", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 5 for final pressing.
"1. Study in Ancient Phrygian Scale" "2. Study in ancient Greek Enharmonic Scale", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 7 for final pressing.
"Introdution-2, Incl. Minuet, and intro. to Intrusions", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 6 for final pressing.
"Introdution-1" 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 5 for final pressing.
"Sample sleeve for recordings 4a-d [Items 20-23]"
Labeled "51321, #1", engraved with "780", 12 inch steel base acetate one-sided disc
Labeled "51321, #2", engraved with "781", 12 inch steel base acetate one-sided disc
Labeled "51321, #3", engraved with "782", 12 inch steel base acetate one-sided disc
Labeled "51321, #4", engraved with "784", 12 inch steel base acetate one-sided disc
"Side 1, Voices--Wm. Wendlandt and Partch, Adapted Viola--Partch" / "Side 2" matrix: B-7707, issued by Warren E. Gilson, Madison, Wisc., 12 inch red vinyl 78 rpm disc
"Side 3" matrix: B-7708 / "Side 4" matrix: B-7709x, no title, most likely continuation of Item 24, "Ten Lyrics by Li Po", issued by Warren E. Gilson, Madison, Wisc., 12 inch red vinyl 78 rpm disc
12 inch steel base acetate disc, 78 rpm, Tom McGeary note: "Apparently made in Madison, Wisc."
12 inch steel base acetate disc, 78 rpm, Tom McGeary note: "Apparently made in Madison, Wisc."
12 inch steel base acetate disc, Tom McGeary note: "Apparently made in Madison, Wisc."
12 inch steel base acetate disc, 78 rpm, Tom McGeary note: "Apparently made in Madison, Wisc."
12 inch steel base acetate disc, Tom McGeary note: "Apparently made in Madison, Wisc."
12 inch steel base acetate disc, Tom McGeary note: "Apparently made in Madison, Wisc."
12 inch steel base acetate disc
12 inch steel base acetate disc
12 inch steel base acetate disc
12 inch steel base acetate disc
12 inch steel base acetate disc
12 inch steel base acetate disc
12 inch steel base acetate disc
12 inch steel base acetate disc
12 inch steel base acetate disc
10 inch reel, 1/4 inch acetate tape, 15 i.p.s., includes excerpts from "Bewitched"
10 inch reel, 1/4 inch acetate tape, 15 i.p.s., includes excerpts from "The Bewitched"
Recording-session takes for Windsong, Evanston, 5 inch reel, 1/4 inch acetate tape, 15 ips
Tom McGeary note: "(?) Recording-session takes for Windsong; at fast or slow speed for over-dubbing", 5 inch reel, 1/4 inch acetate tape
Interview with Madeline Tourtelot and Harry Partch on WTTV-TV, Chicago, prior to screening of the film "Windsong". 5 inch reel, 1/4 inch acetate tape, 7 1/2 ips
The Bewitched: Prologue (incomplete), 5 inch reel, 1/4 inch acetate tape, 15 ips
Status: missing. See Box 33 for casette copies of these tapes. Tom McGeary description: "Lecture by Harry Partch prior to live performance, 2 reels of "Plectra and Percussion Dances" at International House, Berkeley, November 19, 1952, broadcast over KPFA FM, Horace Schwartz, conductor, Gate 5 ensemble. Reel 1: lecture and performance of "Castor and Pollux", Reel 2: "Ring Around the Moon" and "Even Wild Horses", 7 inch reel, 7 1/2 ips
Given as preamble to "The Bewitched", Tom McGeary note: " 'A Soul Tormented by Contemporary Music Looks for a Humanizing Alchemy', presented at the University of Illinois, on Sunday, two days before the premiere of The Bewitched." 7 inch reel, 1/4 inch acetate tape, 7 1/2 ips
Tom McGeary note: "Recording session of Harry Partch accompanying himself on various instruments; probably recorded at Gualala. Pieces include 'The Rose', 'The Crane', 'The Waterfall', 'The Letter', 'The Wind', 'The Street', and 'Sonata Dementia' (chromo. only)" 7 inch reel, 1/4 inch acetate tape, 7 1/2 ips
Tom McGeary note: "On one track are some performances of Partch's music; the other track contains legal speeches", 7 inch reel, 1/4 inch acetate tape, 15 ips
Tom McGeary note: "(1) Introduction by Harry Partch to the recorded version of 'Oedipus', broadcast over KPFA-FM, San Francisco, ca. 1954 (date April 26, 1956 is written on box). (2) Introduction by Harry Partch prior to live performance of 'Plectra and Percussion Dances' (see Tape 5); incomplete", 7 inch reel, 1/4 inch acetate tape, 7 1/2 ips
Direct from original acetate master. 7 inch reel, 1/4 inch polyester tape, 7 1/2 ips
Reel A: Tom McGeary note: "Even Wild Horses" (from Plectra and Percussion Dances); appears to be recorded from a master tape rather than a disc; Reel B: "Castor and Pollux", "Ring Around the Moon". 7 inch reels, acetate tape, 7 1/2 ips
Tom McGeary note: Not all instrumental parts are included in this performance. They are: "Abstraction and Delusion" (bass marimba chromelodeon, and marimba), "Scherzo Schizophrenia" (harmonic canon, marimba, and bass marimba), and "Allegro Paranoia" (marimba, bass marimba, and chromelodeon). 7 inch reel, acetate tape, 7 1/2 ips
Reel A: Prologue, 18' 28"; Reel B: Scenes 1-3, 16' 31"; Reel C: Scenes 4-7, 20'; Reel D: Scenes 8-10 and Epilogue, 20' 52". Tom McGeary note: Copy from master tape rather than 28 4 reels disc. 7 inch reels, polyester tape, 7 1/2 ips
Tom McGeary note: Including "The Letter". 7 inch reel, acetate tape, 7 1/2 ips
Includes "The Waterfall", "The Crane", and other unidentified rehearsal passages. 7 inch reel, acetate tape, 7 1/2 ips
High quality direct copy from 2 reels original Paramount tape. 7" reels, acetate tape, 15 ips
7 inch reel, acetate tape, 7 1/2 ips
Tom McGeary note: Taped from 78 rpm recordings; label describes as "Master". 7 inch reel, acetate tape, 7 1/2 ips
Prior to broadcast of new version over KPFA radio. 7 inch reel, acetate tape, 7 1/2 ips
From "Li Po", "Barstow", "U.S. Highball", "The Letter", Demonstration talk prior to "Intrusions", and "Scale Studies". Tom McGeary note: Box states "Excerpts for St. L. lecture". 7 inch reel, acetate tape, 7 1/2 ips
Tom McGeary note: Box describes as "Master"; 7 1/2 ips copy from original Paramount tape. 7 inch reel, acetate tape, 7 1/2 ips
Tom McGeary note: Box described as "Master"; copy from original Paramount tape. 7 inch reel, acetate tape, 15 ips
Recording session takes. Tom McGeary note: Evanston; originally recorded on Berlant. 7 inch reel, acetate tape, 7 1/2 ips
Recording session takes, Evanston. 7 inch reel, acetate tape, 7 1/2 ips
Recording session takes, Evanston. 7 inch reel, acetate tape, 7 1/2 ips
Tom McGeary note: Probably recording session takes for "Windsong", passages recorded at slow speed. 7 inch reel, acetate tape, speed unknown
Excerpt. Tom McGeary note: Reel no. two through five; from mid-scene 15 to end; high level. 7 inch reel, acetate tape, 15 ips
Excerpt. Tom McGeary note: reel no. two through five; from mid-scene 15 to end; high level. 7 inch reel, polyester tape, 15 ips
Tom McGeary note: Reel no. two through five; from mid-scene 15 to end; high level. 7 inch reel, polyester tape, 15 ips
Tom McGeary note: Reel no. two through five; from mid-scene 15 to end; high level. 7 inch reel, polyester tape, 15 ips
Tom McGeary note: Rehearsal passages; including passages beginning "There she jerks" and "You exclamation mark". 7 inch reel, acetate tape, 7 1/2 ips
Tom McGeary note: Rehearsal passages; passages include "Leaving San Francisco", "Hey don't sleep", and "They've gone". 7 inch reel, acetate tape, 7 1/2 ips
Fragments. Tom McGeary note: Box marked "Sausalito" possible rehearsals of first version of The Bewitched before rewritten for U. of Illinois production). 7 inch reel, acetate tape, 15 ips
Tom McGeary note: Rehearsal passages from end of U.S. Highball. 7 inch reel, acetate tape, 15 ips
Reel A: "Discourse" (lecture and demonstration of instruments); "Intrusions" No. 1 "Study on Olympos' Pentatonic", No. 2 "Study on Freek Enharmonic"; Reel B: "Dark Brother", "Intrusions" No. 11 "Cloud-Chamber-Music", No. 8 "lover", No. 10 "Vanity", No. 9 "Soldiers" (incomplete); Tom McGeary note: Apparently reels a & b incomplete: tape ran out before end of "Soldiers". 7 inch reel, acetate tape, 15 ips
Rehearsal passages. 7 inch reel, acetate tape, 15ips
Tom McGeary note: Fragments (probably takes from recording session. 7 inch reel, acetate tape, 7 1/2 ips
Incomplete. 7 inch reel, acetate tape, 15 ips
Recording session takes. Tom McGeary note: Reel 4 and 5; Windsong takes on Berlant; Evanston. 7 inch reel, acetate tape, 7 1/2 ips
Tom McGeary note: Reel I, copy 2; Castor and Pollux (2/20/53) and Ring Around the Moon (6/29/53). 10 1/2 inch reel, acetate tape, 15ips
Tom McGeary note: Reel II, copy 2; Even Wild Horses (2/6/53?). 10 1/2 inch reel, acetate tape, 15 ips
Tom McGeary note: Reel I; Castor and Pollux (2/20/53) and Ring Around the Moon (6/20/53); copy 1; engineered by L.C.M. 10 1/2 inch reel, acetate tape, 15 ips
Tom McGeary note: Reel II; Even Wild Horses; copy 1; Eng. L.C.M. 10 1/2 inch reel, acetate tape, 15 ips
Fragments. Tom McGeary note: Recording session takes, Partch's voice heard on takes. 10 1/2 inch reel, acetate tape, 15 ips
A side contains unidentified music, not by Partch. Works mentioned in the title are on B side. Tom McGeary note: Partch directing; The Letter interrupted by short bursts of backward music. 10 1/2 inch reel, acetate tape, 15 ips
Fragments. Tom McGeary note: Recording session takes, Partch directing. 10 1/2 inch reel, acetate tape, 15 ips
Tom McGeary note: Reel 1; scenes 1-18; engineered by Partch; from original. 10 1/2 inch reel, acetate tape, 15 ips
Tom McGeary note: Reel 1; scenes 1-18; engineered by Partch; from original. 10 1/2 inch reel, acetate tape, 15 ips
Two journals. Microfilm.
"Sonata Dementia" : Abstraction and Delusion, Scherzo Schizophrenia, Allegro Paranoia (see box 11, folder 2 for printout); "Two Intrusions": Study on Olympos' Pentatonic, Study on Archytas' Enharmonic; "Three Intrusions": The Rose, The Crane, The Waterfall; "Three Instrusions": The Wind, The Street, The Letter; "Five Intrusions": Lover, Soldiers--War--Another War, Vanity, Cloud-Chamber Music: Intrusion 14. Microfilm
"17 Lyrics of Li Po" (score dated New York, 1933), printout in Music and Performing Arts Library Special Collections, M1626 P27 L9; "San Francisco: A Setting of the Cries of Two Newsboys on a Street Corner" (1943), printout in Music and Performing Arts Library Special Collections, M1613.3 P27 S2; "Letter from Hobo Pablo" (1943) , printout in Music and Performing Arts Library Special Collections, M1613.3 P27 S2; "U. S. Highball": part for Chromelodeon and voices; full score: 1943 version for Adapted Guitar, voices, Chromelodeon, and Kithara (1944); part for Kithara, printout in Music and Performing Arts Library Special Collections, M1613.3 P27 U7; "Dark Brother" (1943), printout in Music and Performing Arts Library Special Collections, M1613.3 P27 D2198; "December, 1942--Three Settings for Guitar and Voice": "Come Away, Death" (Shakespeare's 'Twelfth Night'), "The Heron" (Tsuryuki), "The Rose" (Ella Young), printout in Music and Performing Arts Library Special Collections, M1624 P27 D3; "Two Settings from Finnegan's Wake" (1944): "Isobel", "Annah the Allmaziful", printout in Music and Performing Arts Library Special Collections, M1613.3 P27 S41; "Two Psalms" (1943): The Lord is My Shepherd", "By the Rivers of Babylon", printout in Music and Performing Arts Library Special Collections, M1613.3 P27 P7; "Barstow" (1943), printout in Music and Performing Arts Library Special Collections, M1613.3 P27 B2; Y. D. Fantasy (1944). Negative microfilm
Positive microfilm copy of Item 3
From box: "Junk- just hiss and long tones on both sides". Not part of original numbering scheme. 7 inch reel, acetate tape, speed unknown
From box: "Legal speeches, Docket No. 8 1st Res (2nd App)". Not part of original numbering scheme. 7 inch reel, acetate tape, speed unknown
1 and 2. Not part of original numbering scheme. 7 inch reel, polyester tape, speed unknown
1 and 2. Not part of original numbering scheme. 7 inch reel, polyester tape, speed unknown
3 and 4. Not part of original numbering scheme. 7 inch reel, polyester tape, speed unknown
3 and 4. Not part of original numbering scheme. 7 inch reel, polyester tape, speed unknown
Prologue, tail out. 7 inch reel, polyester tape, 7 1/2 ips
Side A: Scenes 4-7; Side B: Scenes 8-10 and Epilogue. Not part of original numbering scheme. 7 inch reel, polyester tape, 7 1/2 ips
Side A: Prologue; Side B: Scenes 1-3. Not part of original numbering scheme. 7 inch reel, polyester tape, 7 1/2 ips
Side A: Discourse; Side B: The Rose; The Crane; The Wind; The Waterfall; The Letter; The Street; Vanity. Not part of original numbering scheme. 7 inch reel, polyester tape, 7 1/2 ips
Copied from a tape, not complete. Not part of original numbering scheme. 7 inch reel, polyester tape, 7 1/2 ips
Reel 3; scenes 10-13. Tom McGeary note: engineered by Partch; from original. 10 1/2 inch reel, acetate tape, 15 ips
Reel 4; scenes 14-18. Tom McGeary note: engineered by Partch; from original. 10 1/2 inch reel, acetate tape,15 ips
Reel 2; scenes 1-3 (prologue missing). 10 1/2 inch reel, polyester tape, 15 ips
Reel 3; scenes 4-7. 10 1/2 inch reel, polyester tape, 15 ips
Reel 4; scenes 8-10 and epilogue. 10 1/2 inch reel, polyester tape, 15 ips
Tom McGeary note: Short excerpts appearing in backward succession from scene 6 to Prologue; recording session takes. 10 1/2 inch reel, acetate tape, 15 ips
Tom McGeary note: Short excerpts appearing in backward succession from scene 10 to scene 7. 10 1/2 inch reel, acetate tape, 15 ips
"Castor and Pollux -- A Dance for the Twin Rhythms of Gemini"; "Ring Around the Moon -- A Dance Fantasm for Here and Now"; "Even Wild Horses -- Dance Music for an Absent Drama". 10 1/2 inch reel, acetate tape, 7 1/2 ips
Tom McGeary note: Tape is spliced into many short segments (some too short to identify); excerpts from "Castor and Pollux" and "Even Wild Horses" identified; Partch directing; also some unidentified drone chanting and electronic sounds. 10 1/2 inch reel, acetate tape, 15 ips
Tom McGeary note: Fragments; some appear from recording session, other from recording; Partch directing. 10 1/2 inch reel, acetate tape, 15 ips
Tom McGeary note: Fragments apparently from recording session; begins with Tiresias scene. 10 1/2 inch reel, acetate tape, 15 ips
Reel 1; Prologue and scene 1. 10 1/2 inch reel, acetate tape, 15 ips
Reel 2; Scenes 2-6. 10 1/2 inch reel, acetate tape, 15 ips
Reel 3; Scenes 7-10 and epilogue. 10 1/2 inch reel, acetate tape, 15 ips
Reel 1: Introduction, Opening Scene, First Chorus, Tiresias Scene. 10 1/2 inch reel, acetate tape, 15 ips
Reel 2: Second Chorus, Creon Scene, Jocasta Scene, Incidental Music, Third Chorus. 10 1/2 inch reel, acetate tape,15 ips
Reel 3: Messenger Scene, Fourth Chorus, Herdsman Scene, Oedipus Scene. 10 1/2 inch reel, acetate tape, 15 ips
Reel 4: Fifth Chorus, Instrumental Commentary, Antiphony, Exit Oediput: Dance-Pantomime, Final Chorus and Coda. 10 1/2 inch reel, acetate tape, 15 ips
Reel 4: Copy. 10 1/2 inch reel, polyester tape, 15 ips
Reel 4: Copy 2. 10 1/2 inch reel, acetate tape, 15 ips
"Even Wild Horses" (from "Plectra and Percussion Dances"): Act 1, Scene 1; Act 2, Scene 2; Act 3, Scene 2; "Oedipus": Scenes 3, 15, 16, 17, 18, and Coda. 10 1/2 inch reel, acetate tape, 15 ips
In some cases related correspondence may be found in adjacent folders.
Copies of originals
Mostly relating to the application and administration of Guggenheim and Research Corporation grants (principally at the University of California, Berkeley), including issuing of recordings (1 of 2)
Mostly relating to the application and administration of Guggenheim and Research Corporation grants (principally at the University of California, Berkeley), including issuing of recordings (2 of 2)
originals and copies
Mostly copies of correspondence between Harry Partch, Larry Marshall, Ben Johnston, Alwin Nikolais, and University of Illinois faculty members regarding commissioning and production of "The Bewitched"
Originals and photocopies
Includes copies of and original correspondence, application materials, brochures, and notes
Partch's pencil drawings with dimensions for instruments
Bound, negative-image photostat of full score of composition by Harry Partch; score consists of title page and 34 pages reproduced on 19 leaves. See Box 14, Item 2 for the microfilm from which this printout was created.
Master of Science thesis by William Max Mueller; research undertaken as part of John Simon Guggenheim Memorial Foundation grant to Partch and Marshall
Yellow Springs, Ohio (29 pp. with red pencil underlining)
Collection of Danlee Mitchell's personal materials relating to Partch. Donated in 1991 on the occasion of a commemorative concert to honor the retirement of Jack McKenzie as Dean of Fine and Applied Arts at UIUC. The title (label) of each folder is followed by a brief description of its contents.
Clippings of articles and reviews regarding Partch; grouped by decade only
Clippings of articles and reviews regarding Partch; grouped by decade only
Clippings of articles and reviews regarding Partch; grouped by decade only
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Clippings of articles and reviews regarding Partch
Two issues, one with Partch essay: vol. 1 no. 2; vol. 2 no.3
Booklets, brochures regarding Partch
Publicity, programs, for performances at UCSD and UCLA
Copies of promotional material
Letters requesting permission to use music
Class paper on Partch (SDSU)
Letters to and from Mitchell, Emil Richards, Linda Schell, Alan Pluth, Oliver Evans, Partch, and Stephen Pouliot
Letter and copy of article she wrote about Partch
Reviews of production at UCLA
Title page for score on vellum master; typescript and Partch's hand lettering
Program, publicity, correspondence regarding 1969 production at UCLA
Booklet, program, announcements, etc., for film screening
Catalogue listings for rental of Partch films
Brochures for various screenings/presentations of Partch films
Correspondence with various firms regarding new edition or reprint
Correspondence between foundation and fundraising firm Moore, Walter, Trenbeth Assoc.
Program for meeting, which included performance at Whitney Museum
Paper or lecture text regarding Partch
Unidentified Japanese magazine with Partch annotation "April '66? Tokyo"
Text of lecture on Partch
Letters from Danlee Mitchell to Partch (about half in photocopy, half originals)
Brochure for film, slide, lecture, and instrument exhibition at San Francisco Art Institute
Rejected contract
Program note for film "Anais Nin Observed: A Film Portrait of a Woman as an Artist" containing mention of Partch
Copies of Partch obituaries from magazines and newspapers
Letters from Partch to Danlee Mitchell (original letters and postcards; 70 items)
Program, announcement, newspaper clippings regarding production at Illinois
Reviews of various performances or recordings
Flyer for Touring Performance Service (that was to have contained Partch program)
Announcement, programs, for lecture concert
Poster and program of concert at UCSD May 11 and 12, 1968
Program for l976 performance at Los Angeles County Museum of Art
Programs of performances at UCSD
Letter regarding photographs
Program for Festival of the Arts of this Century
Poster announcing Partch lecture, April 30, 1956
Newspaper clippings regarding University of Illinois production
Programs and publicity material for performances at Whitney Museum
Materials given to the Archive by Stephen Pouliot, Venice, CA, in 1990 and 1998. Stephen Pouliot was the director of the film "The Dreamer That Remains."
Outside cover page labeled "For Stephen" with special dedication to Pouliot in india ink on verso of outside cover page. Includes one page of timings, manuscript score paginated 1-46, plus four-leaf bifolium of additional material (12-1/2" x 9-1/2")
Editing outlines and editing notes; manuscripts, typescripts, and photocopies. Includes Pouliot research notes and memos, diary memo written on a day with Partch, partial transcript of Pouliot interview with Partch about film
Drafts and typescript transcriptions of dialogue, a journal about a trip with Partch, and biographical information about Partch
Photocopies of handwritten version of typed transcripts in folder 14.
Includes: (1) Typescript of article by Pouliot, "Filming the Work of Harry Partch: Or, Get to Know Your Genius" that appeared in The American Cinematographer; cover (photocopy) + 6 pages in original typescript. Felt-pen annotations (by ?Pouliot) on cover. (2) As above, all pages photocopy. (3) Typescript of article by John Monsour, "Filming Harry Partch" that appeared in The American Cinematographer; 5 pages + chart. (4) Undated and untitled typescript memoir of Partch by Pouliot; 6 pages + bio. statement (5) Remembrance of Partch by Lou Harrison (1963), handwritten by Pouliot; 3 pages.
Regarding Dreamer film; photocopies, carbons, and original typescripts. Also later exchange of letters between Pouliot and Bob Gilmore about draft of chapter of Gilmore's book-in-progress (photocopy included).
Two 2-page photocopies of transcript of "The Letter" both with pencil annotations and corrections; second copy with Partch's annotations and notes by ?Pouliot of meeting with Partch on verso of p. 2. (2) 3-page photocopy of transcript of "The Letter"
Partch's initial, "very tentative verbal outline", 6-page typescript (carbon copy)
Material relating to production and shooting. (1) Pouliot's color illustration for neon bubble prop used in The Dreamer. (2) Pouliot's shooting script for The Dreamer, Part III, dated November 10, 1972. Title page + 4 pages, typescript with MS additions. Includes tentative rehearsal schedule. With contemporary photocopy. (3) Sets of story boards (1): 14-page story board illustrating how The Dreamer will be shot; with photocopy; felt-tipped pen on lined paper (4) Set of story boards (2): 9-page story board, pencil on Graphic Film Corp. pre-printed worksheet; with photocopy. (5) Typed bar-by-bar breakdown of musical composition for camera; undated; 7 pages plus cover sheet (titled "DREAMER"). (6) Manuscript bar-by-bar breakdown of musical composition; ballpoint pen on lined notebook paper; n.d., n.p.; title page + 8 pages. (7) Pouliot's camera-shot breakdown; ?grease pencil on 6 pages. (8) Recording notes for The Dreamer; 8 pages in pencil on yellow grid paper. (9) Editing outline for Part III; red ball-point pen on gridded yellow paper; 8 pages. (legal size) (10) "Shooting Plan for The Dreamer That Remains, Parts I & II", dated Nov. 16-72; title paged + six pages (numbered 1-5 with insert): Original (felt-tipped pen), plus two photocopies
Eight sets of camera/editing logs of scenes. Typescript
Outlines, lists, timetables, schedules for shooting. Photocopies and typescripts
Treatments/outlines of film portrait. (1) Typescript "Harry Partch: The Man and his Music" dated March 8, 1972; cover + 6 pages (2) Photocopy "Harry Partch: The Man and his Music" dated April 2, 1972; typescript, cover + 7 pages. (3) Photocopy "Harry Partch: The Man and his Music" dated April 25, 1972; cover + 7 pages; typescript, pencil annotations by Partch. (4) Photocopy "Harry Partch: The Man and his Music" dated April 25, 1972; cover (marked "Partch copy") + 12 pages; typescript, with pencil annotations (some by Partch). (5) Photocopy "Harry Partch: A Study in Loving" dated June 5, 1972; typescript, cover + 10 pages (6) Photocopy of Film Thesis Proposal, "Harry Partch: A Study in Loving" dated July 23, 1972; typescript, cover + 10 pages (7) Photocopy of "Story Outline"; 19-page typescript (8) Photocopy "Film Script/Story Outline"; typescript, 22 pages. (9) Photocopy of "Structure of the Film"; typescript, paginated 6- 12 (10) Photocopy of script, "Harry Partch: A Study in Loving/ First Draft: 10-27-72"; typescript, cover page + 29 pages. (11) Photocopy, as above; without title page, but with ink and pencil annotations (12) Photocopy of script, "Harry Partch/ Second Draft: 12-20-72"; typescript, cover + 38 pages. (13) Photocopy of working script; no title or date; typescript, 22 pages. (14) Two loose typescript sheets of scenario; undated
Editing notes for film; typescripts, carbons, manuscript.
Prepublication copy. Later published by Minnesota Composers Alliance
Recognizable as worn by Partch in photographs and in The Dreamer That Remains. Purple with blue trim. 2011.350382.001
Recognizable as worn by Partch in photographs and in The Dreamer That Remains. Denim with embroidery. 2011.350982.002
This subseries consists of photocopies of materials available in the University of California, San Diego's Mandeville Special Collections Library's Peter Yates Collection (MSS 0014).
Primarily between Partch and Yates
Between Yates and various others
Mimeographed copies
Between Partch and Yates
This series consists of original materials collected or created for the Archive, not part of individual collections above.
Documents about Partch and his family at Albuquerque
Program, newsletters, and materials by the American Festival of Microtonal Music, organized by Johnny Reinhard, director, which has performed some of Partch's compositions.
"Remembering Harry"
Correspondence between Thomas McGeary and Barzun; McGeary?s notes on the Partch letters, etc., in Barzun's papers at Columbia University.
Photocopies of letters between Partch and Beckwith (provided courtesy of Danlee Mitchell) (1957-87)
Magazines, notes, etc., about Benson, Arizona; with McGeary notes about possible materials about Benson for further investigation
Photocopies of letters to Partch; copies courtesy of Bob Gilmore
Photocopy of letter from Partch to Steven Bookman (provided courtesy of Johnny Reinhard)
Transcript of interview between Betty Freeman and Henry Brant (tape in Harry Partch Archive) (1985); photocopy of relevant portion of interview with Brant from Soundpieces: Interviews with American Composers (1982)
Various newsletters and publications
Note-O-Gram carbon from Cage to McGeary about Partch
Seminar paper on Li Po Settings
Photocopies of letters, etc., regarding Partch's 1934-35 research trip to England
Letter from Copland to Tom McGeary about Partch. [Note: Photographs from Box 19 Folder 19 "Cecil Charles, 1969" were transfered to Box 28 folder 1 when the collection was processed in 2007. However, the collection finding aid was not updated to reflect this transition until October of 2017. Box 19 Folder 19 is now updated as "aaron copland, 1979," which was originally Box 19 Folder 20, the remaining folders in Box 19 have also been updated accordingly.]
Photocopies of letters, etc., about Couper (micro-tonal composer), who was a friend of Partch in Santa Barbara from the 1930s (photocopies courtesy of Rosalind Nordli)
Photocopied proof sheets of Partch photographs
Transcript of interview with Betty Freeman (tape of interview is series 18, box 33, item 65)
Photocopies of letters, score, etc., made in 1979. Both are deceased and the locations of the originals of these items is not known. Includes photocopy of the original india-ink-on-paper score of "Before the Cask of Wine".
Photocopies of clippings and letters from Partch to Driscolls (1941-72) now in the possession of Jonathan Glasier (made in 1986)
Photocopies of letters from Partch to Drummond 1966-1972 (photocopies courtesy of Dean Drummond)
Photocopies of letters about Partch's employment in FWP; plus McGeary correspondence and other materials about the FWP
Photocopies of McGeary correspondence about Partch's employment in FWP
Letters from Peter Flanders and Roberta Fansler Capers to McGeary about their knowledge of Partch and their families
Photocopies of letters from Partch to them
Correspondence between McGeary and Gaburo (and others) relating to Partch publishing projects and Lingua Press
Photocopies of correspondence between Garland and Partch. Largely duplicates of items in the Harry Partch Estate Archive, RS 12/5/45, box 5, folder 17
"When Worlds Collide: Harry Partch and the Aesthetics of Avant-Garde Film Music"
Letter from Hanson regarding Partch
Photocopies of sections relevant to Partch from A Lou Harrison Reader (mostly reproduction of letters between Partch and Harrison)
Photocopy of MS score for Partch's Jine the Cavalry, now owned by Fred Bennet, Northridge, Calif.; also photocopy of Haverlin's published arrangement of Jine the Cavalry; also McGeary corr. with Bennet. One copy of score of Jine the Cavalry is series 14, box 28, item 7.
Reproductions of two photographs of Partch
Photocopies of internal documents about Water! Water! production at the University of Illinois
Printout from microfilm of documents from their files (including letters from Partch) regarding Partch's research trip to England. Further duplication is prohibited without permission of original source.
Photocopies of letters from Partch to them
Photocopies of material relating to Partch (clippings, programs and brochures from Madison. Wis., concerts and recordings); incl. photocopies of letters from Partch to the Marshall and Johansens
Articles, clippings, and writings about Partch, including photocopies of letters to and from Partch; grant applications; corr. with various persons; publications and interview transcript
Copy of article about Partch's indian music transcription (with cassette) from Musicworks 51
Letter from Keats to Betty Freeman describing Partch's stay in Yellow Springs, Ohio
Various materials about Lauterer, director of Mills College production of King Oedipus
Photocopy of concert program (at N.Y. Public Library)
correspondence with Thomas McGeary about their Partch scores
Photocopies and notes of correspondence between Partch and Coolidge; includes McGeary notes on the collection.
Photocopies and notes of correspondence regarding commissioning of Delusion of the Fury
Photocopies and notes of materials sent by Partch to Nicolas Slonimsky, including draft scenario of Delusion of the Fury ; includes McGeary notes on the collection
Correspondence by McGeary with Luening about obtaining copies of Partch letters; photocopy of portion of Luening's The Odyssey of an American Composer; photocopies of other letters
Correspondence with them, photocopies of materials about them and clippings about Partch
Copies of letters from Partch
Correspondence with various persons and organizations in course of collecting material for the Archive.
Notes from Partch and Danlee Mitchell about an unidentified recording project
Photocopies of the score of "And on the Seventh Day Petals Fell in Petaluma" with annotations for a recording project
Photocopy of letter from Partch
Photocopies of material relating to production of King Oedipus
McGeary correspondence with, and copies of various materials
McGeary correspondence about their Partch holdings; photocopy of letter from Partch to Moldenhauer
Photocopies of Partch letters to Moore. Further duplication is prohibited without permission of original source
McGeary correspondence about their Partch holdings
Photocopies of letters from Partch and of photos of The Bewitched production
Photocopy of letter from Oliveros to Betty Freeman about Partch
McGeary correspondence with, and material about his paintings
Photocopies of various materials about Virgil and Jenny Partch; land deeds and homestead claims in Arizona; material regarding Partch and brother and sister
Preliminary notes, scenarios, etc. (photocopies of material in the Harry Partch Estate Archive)
Brochures about Partch distributed by BMI
Scenarios: Originals and photocopies of scenarios to The Bewitched, from various sources
Photocopies of birth and death certificates
Printout from microfilm in the Marshall Collection (series 9, sub-series 1, box 14, item 1)
Printout of music examples for Bitter Music, from microfilm in the Marshall Collection (series 9, sub-series 1, box 14, item 1)
Correspondence between CRI and Partch regarding Petals and The Bewitched recordings (photocopies of originals at CRI, New York)
Photocopies and originals of concert programs during Partch's life and after his death
Printout from microfilm (made by Partch at U. of Illinois about 1960) that contains letters Partch wrote to various persons; original film in the Harry Partch Estate Archive
Correspondence between Da Capo and Partch regarding second edition of Genesis of a Music (photocopies of material in the Harry Partch Estate Archive)
Special dedicatory page to Stephen Pouliot (photocopy of original vellum master sheet in the Harry Partch Estate Archive)
Printout of microfilm in the Marshall Collection
Photocopy of original typescript scenarios in the Peter Yates papers, UCSD library, Mandeville Department of Special Collections
Photocopy of original typescript now owned by Jonathan Glasier, San Diego
Photocopy of facsimile printed in Allos: 'Other' Language, ed. Kenneth Gaburo
Photocopies of original in the Harry Partch Estate Archive, San Diego (47 pp.)
Photocopy of typescript (original in the Harry Partch Estate Archive) (12 pp.)
Printout of typescript from microfilm in Marshall Collection
Transcript of oral history interview with Partch (original tape at Yale University; copy of tape series 18, box 33, item 75-78)
Photocopies of Partch's published writings
Original mimeograph transcript of talk Partch gave at ASUC meeting, Tanglewood, Preliminary leaf + 13 pp.
Brochures for recordings; originals and photocopies
Photocopies of originals now at the Moldenhauer Archive, Harvard University
Preliminary drafts, notes, scenarios; plus draft scenarios for works never composed (photocopies of material in the Harry Partch Estate Archive 12/5/45, series 1, subseries 1, box 1, folders 34, 38 and 39)
Photocopy of original typescript in the Peter Yates papers, UCSD library, Mandeville Department of Special Collections) (8 pp.)
Photocopy of original manuscript (in the Harry Partch Estate Archive 12/5/45, series 3, box 15, folder2)
Photocopies of originals (in the Harry Partch Estate Archive 12/5/45, series 1, subseries 1, box 1, folders 43 and 44)
Article about Partch in 7o Dia, the Sunday magazine of the Venezuelan newspaper "El Nacional"
Copy of press release and program for original University of Illinois production
Photocopy of letter from Partch to Porter
Photocopies of record jackets of Partch's Gate Five and commercial recordings
Photocopies of letters from Partch to Richards
Originals and photocopies of various materials regarding Partch
Photocopies of Partch's transcription of Indian songs. Further duplication is prohibited without permission of original source
McGeary correspondence with Stern, and other materials about Partch
Small group of materials about Partch from performer in Water! Water!; include photocopy of letter from Partch
Original typescript of unpublished review article about Partch's Revelation, with photos. Photos removed to Photograph Box
Photocopies of letters between Partch and Thomson (originals at Yale University). Further duplication is prohibited without permission of original source
McGeary correspondence with, and photocopies of brochures of her films about Partch.
Letter from Tuttle to Ben Johnston about Partch
Correspondence with University archivist and emeritus faculty member Pauline Alderman about Partch at USC
Correspondence with Library and Press about their Partch holdings; includes photocopies of two letters from Scudder MeKeel
Photocopies of various materials from UW Press, UW Archives, and local newspapers collected by Ron Wiecki (photocopies courtesy of Ron Wiecki)
Photocopies of selected letters from and about Partch (photocopies courtesy of Ron Wiecki)
Correspondence with and draft copy of an article about Partch
Photocopies of Yeats published correspondence about Partch; copies of other items and Yeats's King Oedipus
Partch letter to Young (original at UCLA library)
Blue-line original or photocopies of Partch autograph scores. Assembled from various sources.
Includes scores for Li Pos and 11 Intrusions as well as correspondence and notes from Ben Johnston, Mark Behm, Jan Cameron, and Larry Polonsky.
Photocopy of original score.
Photocopy of original (now missing) from Harry Partch Estate Archive.
Photocopy of original at Moldenhauer Archive, Harvard University
Photocopy
Photocopy
From an original at Brown University Library. Also includes correspondence with the New York Public Library and the Copyright Office about obtaining reproduction rights.
Photocopy of original in Harry Partch Estate Archive (12/5/45 series 3 box 11 folder 3)
Chromolodeon part. Photocopy
Photocopy of original in Harry Partch Estate Archive (12/5/45 series 3 box 11 folder 8)
Photocopy
From Pouliot Collection. Two copies of "The Dreamer that Remains", the second with Partch's final revisions and the first without. One copy of "The Letter: A Depression Message from a Hobo Friend", as rewritten for the Freeman-Pouliot film.
From Barnard Hewitt Collection
From Barnard Hewitt Collection. Also includes a program from a performance at the Illini Union, a list of recorded excerpts and the manuscript of a "New 10th Prologue for Recording".
Copy used by John Garvey in UIUC production; purchased from private party in Britain in 2002
Copy used by John Garvey in UIUC production; donated by member of Garvey family
Work copy used for UCLA production; cover is one of three made by wife of Emil Richard; purchased from Clay Grossman, Chicago.
These boxes contain photographic material (slides, prints, and negatives transferred from various collections and/or folders
Robert Kostka Collection Folder 4, taken at WTTW-TV
Betty Freeman Collection Folder 7
Photograph by Imogene Cunningham
Lynn Ludlow Collection Folder 1
Jean Cutler Collection Folder 17. Some negatives
Jean Cutler Collection Folder 18. Some negatives
Production photographs (both black and white), negatives, and contact sheets taken by Cecil Charles Spiller in 1969 production of Delusion of the Fury at UCLA. [Note: Photographs from Box 19 Folder 19 "Cecil Charles, 1969" were transfered to Box 28 folder 1 when the collection was processed in 2007. However, the collection finding aid was not updated to reflect this transition until October of 2017. Box 19 Folder 19 is now updated as "aaron copland, 1979," which was originally Box 19 Folder 20, the remaining folders in Box 19 have also been updated accordingly.]
Stephen Pouliot Collection Folder 6
Color slides (duplicates of slides taken by Danlee Mitchell)
Photographs by Malcolm Lubliner
Time-Life photographs
Color photographs of originals owned by Jonathan Glassier, San Diego. Some negatives
From the Nicholas Temperley folder. Photographs from UIUC public information office.
Photographs by various persons folder. Photographs of instruments, performances, and Partch himself
Taken by Mark Stevens.
Duplicates of color slides taken by Danlee Mitchell
From the Danlee Mitchell Collection
These files contain originals or photocopies of articles (or sections in books) published about Partch. These are in three groups (a) copies of articles listed (and accordingly numbered) in the bibliography in the second edition of Genesis of a Music, and (b) articles not in Genesis of Music (in folders grouped by decade). The first two groups go up through 1974, and are listed in the "Bibliography of Writings about Harry Partch" in The Music of Harry Partch: A Descriptive Bibliography. A third group (c) consists of items about Partch published after 1974.
Includes duplicate cassette tapes at end of box
Aptos, Calif., interviewed by Ben Johnston and Tom McGeary. Digitized July 2012.
Digitized July 2012.
Others present: Ben Johnston, Tom McGeary, Mark Behm, and John ; San Francisco, Ca.,
Inverness, Ca., interviewed by Ben Johnston and Tom McGeary
Petaluma, Ca., interviewed by Ben Johnson and Tom McGeary
Petaluma, Calif., interviewed by Ben Johnston and Tom McGeary
Gualala, Calif., interviewed by Ben Johnston and Tom McGeary. Digitized July 2012.
Gualala, Calif., interviewed by Ben Johnston and Tom McGeary; also present: Larry Marshall
Gualala, Calif., interviewed by Ben Johnston, Tom McGeary, and Larry Marshall.
Gualala, Calif., interviewed by Ben Johnston and Tom McGeary
Gualala, Calif., interviewed by Ben Johnston and Tom McGeary
Interview conducted by Larry and Lucie Marshall Gualala, Ca.
Inverness, Calif., interviewed by Ben Johnston and Tom McGeary
Del Mar, Calif., (at Bert Turetsky's home); interviewed by Danlee Mitchell; (tape courtesy of Danlee Mitchell)
Interviewed by Ben Johnston & Tom McGeary
Champaign, Ill., interviewed by Ben Johnston & Tom McGeary
Urbana, Ill.; interviewed by Ben Johnston
Los Angeles, interviewed by Ben Johnston and Tom McGeary
Northridge, Calif., interviewed by Ben Johnston and Tom McGeary
Los Angeles (Encino); interviewed by Ben Johnston and Tom McGeary
U.C.S.D., interviewed by Ben Johnston and Tom McGeary
La Mesa, Calif., interviewed by Ben Johnston and Tom McGeary
Beverly Hills, Calif., interviewed by Ben Johnston and Tom McGeary
Whittier, Calif., interviewed by Ben Johnston and Tom McGeary
La Mesa, California, interviewed by Ben Johnston and Tom McGeary
San Diego, interviewed by Ben Johnston and Tom McGeary; also present Jonathan's wife Elizabeth
Produced by KPBPS-TV, San Diego State University. Includes performance of "Daphne of the Dunes"
Interviewed by Ben Johnston and Tom McGeary (also present Stephen Pouliot and David Cloud)
Interviewed by Ben Johnston and Tom McGeary (also present Stephen Pouliot and David Cloud)
Beverly Hills, interviewed by Ben Johnston and Tom McGeary
Hollywood, Ca., interviewed by Ben Johnston and Tom McGeary; (also present, Celeste Richards)
Highland Park (Los Angeles); ; interviewed by Ben Johnston and Tom McGeary. Side B, Tape 45: Interview with Peter Farrell about Harry Partch; U.C.S.D.; 10. Jan. 1979; interviewed by Ben Johnston and Tom McGeary
Madison, Wisc., interviewed by Tom McGeary
New York; interviewed bv Ben Johnston
New York, interviewed by Ben Johnston
New York, interviewed by Ben Johnston
New York, interviewed by Ben Johnston
Beverly Hills, Calif., also with Luchita Mullican; tape gift of Betty Freeman; interview conducted at the home of Betty Freeman
La Mesa, California, interviewed by Ben Johnston and Tom McGeary
Interviews conducted (mostly) by Stephen Pouliot; Encinitas, Calif.; Gift of Betty Freeman (producer of film)
San Diego, interviewed by Ben Johnston
U.C.S.D., interviewed by Ben Johnston
Conducted at North Texas State University, Denton, TX, interviewed by Tom McGeary
Urbana, Illinois
Urbana, Illinois
Interview conducted by Larry and Lucie Marshall, 34001 South Highway One, Gualala, CA 95445
Interview conducted bv Bob Gilmore, Koln, Germany
Interview conducted at Englewood Cliffs, New Jersey, interviewed by Tom McGeary
Interview conducted by Betty Freeman, at Oliver Daniel's home, in Scarsdale, New York; tape gift of Betty Freeman, Beverly Hills, Ca.
Interviewed by Betty Freeman at her home; tape gift of Betty Freeman
Conducted by Tom Miller (July 1985) Interview with Danlee Mitchell, conducted by David Soldier (beginning) 1 August 1985; Both interviews were conducted by telephone and broadcast over WKCR-FM New York; copy of interviews courtesy of WKCR-FM
Tapes courtesy of Betty Freeman
North Texas State University, Denton, TX, interview conducted by Tom McGeary
Urbana, Illinois, interview conducted by Ben Johnston
San Diego. This interview was conducted as part of the Yale School of Music Oral History Project, Vivian Perlis, Director. Tape duplicate provided by Yale Oral History Project in 1979. Further duplication is prohibited without permission of original source.
Interview conducted by Betty Freeman Beverly Hill, CA
Interviewed by Ben Johnston, New York, NY. Duplicate of item 50
Duplicate of item 52
Part of the 20th Century Music Series. A slightly abridged version of the lecture was printed in Source No. 1 (January 1967)
Part of the Festival of the Arts of This Century. Copy provided by University of Hawaii (courtesy of John Van der Slice)
Tape from Peter Yates Collection (series 12), University of California at San Diego, Mandeville Library, Special Collections Dept. Tape made by Peter Yates, probably in Los Angeles in 1965-1966. Duplicate cassette made by permission of Special Collections Department, UCSD Library.
A lecture presented on tape to Tanglewood ASUC conference summer of 1967 / Dreamer That Remains - copy of soundtrack for film by Stephen Pouliot and Betty Freeman
Duplicate from Mills College Library of original performance; of Partch's settings of "Oedipus" in the W. B. Yeats translation; Two cassettes; Dolby B; copy provided courtesy of Mills College, Oakland.
Duplicate from Mills College Library of original performance; of Partch's settings of "Oedipus" in the W. B. Yeats translation; Two cassettes; Dolby B; copy provided courtesy of Mills College, Oakland.
Lecture and demonstration of excerpts from"The Bewitched". Presented at the University of Illinois Auditorium on March 24, 1957. Presented two days before premiere of Partch's "The Bewitched". Two Cassettes. Dolby B. Duplicate of tape in U. of I. Music Library (Special Collections/Tape MO 48932)
Lecture and demonstration of excerpts from "The Bewitched". Presented at the University of Illinois Auditorium on March 24, 1957. Presented two days before premiere of Partch's "The Bewitched". Two Cassettes. Dolby B. Duplicate of tape in U. of I. Music Library (Special Collections/Tape MO 48932)
Ensemble conducted by Jack McKenzie; duplicate of tape in U. of I. Music Library (Special Collections/Tape MO 60260) (? dup from Gate 5 recording)
Recorded as improvised by Partch and Johnston at Gualala, Ca., two reels; copy of original tape now at Northwestern University Music Library, Ben Johnston Collection
Complete premiere performance, University of Illinois, ensemble conducted by John Garvey. two cassettes; duplicate from tape in University of Illinois Music Library (Special collections/ Tape MO 48981)
Complete premiere performance, University of Illinois, ensemble conducted by John Garvey. two cassettes; duplicate from tape in University of Illinois Music Library (Special collections/ Tape MO 48981)
International House, Berkeley, Copy from Marshall Collection, Tape 5 / Chicago, Copy from Marshall Collection, Tape 3
1. "December 1942" - J.R. voice; Bradford Catler, fretless bass; 5/30/87;Â 2. "The Night of Sorrow" - J.R. intoned voice; Kenneth Edwards, viola; 6/2/86; 3. "Two Studies on Ancient Greek Scales" - Jon Catler, guitar "Just"; J.R. bassoon 6/2/86; 4. "In the Springtime on the Southside of the Yangzee Kiang" - J.R. voice; Kenneth Edwards, viola 6/2/86 - tape courtesy of Johnny Reinhard
Duplicates
Dups from glass base acetate recordings of Partch compositions made in Madison, Wisc.
Probably made at Los Angeles, Sept. 1960.
Made in Chicago (as preview to Water! Water! production). Interview later broadcast on WFMT Radio, Chicago. Tape courtesy of WFMT Radio, Chicago.
Regarding Partch chronology; taped in Champaign, Ill, with Thomas McGeary
Tape courtesy of Johnny Reinhard. "The Night of Sorrow": "In the Springtime on the South Side of the Yangzee Kiang" (Nov. 2, 1986 at Saint Peter's Church in New York City) Johnny Reinhard, intoned voice, Kenneth Edwards, viola; "December 1942 - Come Away Death and the Heron" (May 30, 1987 at Merkin Concert Hall Concert Hall in New York City, World Premiere) Johnny Reinhard, intoned voice, Bradford Catler, fretless guitar; "Two Studies on Ancient Greek Scales arr. from HM and BM" (Nov. 2, 1986 at Saint Peter's Church in New York City) Jon Catler, Just Intonation fretted guitar, Johnny Reinhard, bassoon; "Yankee Doodle Fantasy" (May 30, 1987 at Merkin Concert Hall Concert Hall in New York City) Deborah Mirabai Rothrock, soprano, Joshua Pierce, DX7/E chip (Just Intonation keyboard), Andrew Bolotowsky, tin flute, Matthew Sullivan, oboe, Johnny Reinhard, flexotone and conductor
Those present include Betty Freeman, Danlee Mitchell, Lou Harrison, and Jack Laron.
Contains "December 1942": "Come Away Death", "The Heron", "The Rose", by Harry Partch. From the liner notes: "Come Away Death," is an adaption of the jester's song in Shakespeare's "Twelfth Night." The brief second and final movements appear related to music found in Partch's "Intrusions." Johnny Reinhard, intoned voice/Bradford Catler, fretless guitar.
Tape of performance at Mills College, Oakland. In the original version using the W. B. Yeats translation. Tape duplicated from copy loaned from Mills College Library. 11 inch reel, polyester tape, 7 1/2 ips
Tape of performance at Mills College, Oakland. In the original version using the W. B. Yeats translation. Tape duplicated from copy loaned from Mills College Library. 11 inch reel, polyester tape, 7 1/2 ips
Tape of performance at Mills College, Oakland. In the original version using the W. B. Yeats translation. This tape has approximately the last two-thirds of the full recording. Tape duplicated from copy loaned from Mills College Library. 11 inch reel, polyester tape, 7 1/2 ips
Duplicate of a copy loaned by Mills College Library, Oakland. 11 inch reel, polyester tape, 7 1/2 ips
Dubs from glass base acetates of Harry Partch music, performed at Music Hall, University of Wisconsin, Madison. 7 inch reel, polyester tape, 7 1/2 ips
Dubs from glass base acetates of Harry Partch music, performed at Music Hall, University of Wisconsin, Madison. Tape duplicated from copy owned by Larry Gushee. 7 inch reel, polyester tape, 7 1/2 ips
Part of the 20th Century Music series presented by the UCLA Committee on Fine Arts Production. A portion of the lecture was printed in Source (Jan. 1967), p. 103. Tape provided by David Cloud, KUSC radio station, Los Angeles. 7 inch reel, polyester tape, speed unknown
Lecture presented in absentia to an American Society of University Composers seminar at Tanglewood, Mass. Duplicated from copy owned by John Chalmers (Chalmer's copy provided by Chris Forster). 7 inch reel, polyester tape, 7 1/2 ips
Dub of master tape sent by Partch to Ben Johnston. (Original mailing label included); original tape gift of Ben Johnston. 7 inch reel, polyester tape, 7 1/2 ips
At the Home of Harry Partch. Duplicate tape provided as gift of Garry Kvistad (Letter from Kvistad enclosed in tape box). 7 inch reel, polyester tape, 7 1/2 ips
People present include Betty Freeman, Danlee Mitchell, Lou Harrison, and Jack Larson. Tape Duplicate gift of Lou Harrison. 7 inch reel, polyester tape, 3 3/4 ips
7 inch reel, polyester tape, speed unknown
Tape prepared for WNYC radio, sent January 1962; aired Feb. 16, 1962 (see correspondence in Barnard Hewitt Collection, folder 4); tape part of Barnard Hewitt Harry Partch Collection. Missing.
Incidental music for play by Wilford Leach; improvised and recorded by Partch and Johnston at Gualala, Ca. Copy of original tape at Northwestern University Music Library, Ben Johnston Collection. 7 inch reel, polyester tape, 15 ips.
Incidental music for play by Wilford Leach; improvised and recorded by Partch and Johnston at Gualala, Ca. Copy of original tape at Northwestern University Music Library, Ben Johnston Collection. 7 inch reel, polyester tape, 15 ips.
Copy of tape prepared by Partch for Betty Freeman (includes Partch's inlaid list of movements); two-track stereo tape gift of Betty Freeman. Missing
Part of the Festival of the Arts of This Century 1/4-track stereo tape gift of Betty Freeman. Missing
11 inch reel, polyester tape, speed unknown
Act 1: Exordium, scenes 1,2, and 3. 11 inch reel, acetate tape, 15 ips
Act 1, scenes 4,5,6, and Sanctus. 11 inch reel, acetate tape, 15 ips
Act II, Scenes 1,2,3,4,5,6, and Coda. 11 inch reel, acetate tape, 15 ips
Duplicate of Marshall Collection microfilm (Series 9, Subseries 1, Box 14, Item 1)
Duplicate of Marshall Collection microfilm (Series 9, Subseries 1, Box 14, Item 2)
Duplicate of Marshall Collection microfilm (Series 9, Subseries 1, Box 14, Items 3 and 4)
Microfilm of originals now at the New York Public Library (positive and negative copies). Further duplication is prohibited without permission of original source.
Microfilm of originals now at the New York Public Library (positive and negative copies). Further duplication is prohibited without permission of original source.
Original, unedited typescript for 1949 edition. Microfilm of original at the New York Public Library. Further duplication is prohibited without permission of original source.
Set of 2 slide strips from Educational Audio Video, Inc. (SE 70072B)
From the Madeline Tourtelot Collection, Beta I tape, approximately 25:00.
VHS tape from KPBS-TV, San Diego State College. 29:37
DAT duplicates of Cutler tapes (Series 2, Box 3)
DAT duplicates of Cutler tapes (Series 2, Box 3)
DVD duplicates of Jean Cutler Partch films
DVD duplicates of Jean Cutler Partch films
DVD duplicates of Jean Cutler Partch films. Rough A &V mating.
Audio CD transfer from Jean Cutler 16mm audio magnetic tape.
Transfer from 16 mm mag
Transfer from 16 mm mag
VHS cassette
Betacam duplicates of 16mm reels
Beta duplicates of 16mm reels
16mm color prints
Materials collected and created by Philip Blackburn in relation to his INNOVA and Enclosures products devoted to publishing materials about Partch, under the auspices of the American Composers Forum, Minneapolis.
Relating to Partch
Relating to Partch
Masters thesis by Yang Shixian Tim, completed as part of the requirement for the Master of Arts degree from the Graduate Program in Comparative Literature, Department of English Language and Literature, Coochow University, Taipei, Taiwan.
Publicity for The Harry Partch Legacy at the Walker Art Center in Minnesota, Poster for U.S. Highball at SDSU, and color photocopies of Partch's Tonality Diamond and tonal fraction system.
From Enclosures V. Digital audio tape, 44.1kHz sampling rate.
From Enclosures V. Digital audio tape, 44.1kHz sampling rate
Includes "The Bewitched" from Enclosures V. Digital audio tape, 44.1kHz sampling rate
Master #1. Digital videocassette, 45 min.
Master #2. Digital videocassette, 30 min.
Digital videocassette, 9:09
Digital videocassette, 18:00
Digital videocassette, 17:46
Digital videocassette, 24:32
Digital videocassette, 30:08
Digital videocassette
Transfer of the 1996 version. Digital videocassette
American Composers Forum (KPBS). Videocassette from 16mm film
3M Master, beta-cassette transfer, transferred for PB. 27 min.
3M Master, beta-cassette transfers, transferred for PB.
3M Master, beta-cassette transfer, transferred for PB.
Contents not verified; within box are notes giving other possible contents/subjects. 7 inch reel, polyester tape, 7 1/2 ips
Contents not verified; within box are notes giving other possible contents/subjects. 7 inch reel, polyester tape, 7 1/2 ips
These materials had been in the possession of Philip Blackburn, as part of his INNOVA and Enclosures publication project. They were transferred to the archive in April 2008. For more information about the Kenneth Gaburo Papers in the University Archives see the finding aid.
Letters, contracts, prospectuses, list of documents, and other documents relating to the never-realized Lingua Press publication project of Partch materials.
Letters, contracts, prospectuses, list of documents, and other documents relating to the never-realized Lingua Press publication project of Partch materials.
Printed and typescript material prepared by or collected by Gaburo relating to his productions.
Printed and typescript material prepared by or collected by Gaburo relating to his productions.
Tom McGeary note: Ozalid full score; used by director (Kenneth Gaburo) or stage director/choreographer for the San Diego State University 1979/1980 and/or 1980 Berlin production.
From a celebration at the Oakland Museum
An enlarged photograph of Partch standing on top of a railcar during his hobo years.
This collection consists of Madeline Tourtelot's own cassettes, tapes, and a book that had been given to Philip Blackburn in relation to his Enclosures publishing project. They were transferred to the Partch Archive in April 2008 as part of Blackburn's donation of his Enclosures material.
Note by Danlee Mitchell: This is possibly the original mimed soundtrack to Cecil Spiller's recording of the UCLA live production. Madeline Tourtelot's soundtrack. h love / Harry / July 11, 1974. VHS cassette
Copy inscribed: "To Madeline / with love / Harry / July 11, 1974"
Gate 5 Records, issue no. 5. 12 inch LP
Inscription has been mostly removed but appears to have read "To [Ted?] with kind regards / Harry". Gate 5 Records, issue no. 6. 10 inch LP.
Gate 5 Records. Two 12 inch LPs and enclosed program notes
First copy is inscribed: "To Madeline with love- Harry (I hope / you like them) July 1, 1962". Second copy is inscribed: "To Ned with admiration in general / and for long-enduring patience during / the advent of these records - Harry / Aug. 22 '62". Gate 5 Records, issue A. 12 inch LP
Excerpted. Gate 5 Records, issue E. 12 inch LP
Copy inscribed: "For Madeline, happy memories, and love / always- Harry, October, 1971". Columbia Records. Two 12 inch LPs and booklet
First copy is inscribed: "Madeline - love - / high - December - 57,". Second copy is inscribed: "To Ted Tourtelot - to / provide a frivolous moment / of relief in the pursuit of / absolute knowledge / Harry Partch - Dec. 1957". Gate 5 Records, issue no. 4. 12 inch LP
10" reel to reel/ 7-1/2 ips This reel is a duplicate of various tapes given to the U of I Music Library by Lauriston Marshall, Gualala, Calif. Each item is separated by white leader. Contents/Description of tape. 1. Marshall Tape # 19 "Ten Settings of Lyrics by Li Po" for voice and adapted viola. Copied from two disc set of 78 rpm recordings privately issued by Warren E. Gilson, Madison, Wisc., 1947. 2. Marshall Tape # 27 Probably recording session takes for "Windsong," passages recorded at slow speed. ?Evanston, 1958. 3. Marshall Tape # 26 "Windsong"; recording session takes. ?Evanston, 1958. 4 . Marshall Tape # 25 "Windsong"; recording session takes. ?Evanston, 1958. 5. Marshall Tape # 24 "Windsong"; recording session takes. ?Evanston, 1958.
10" reel to reel / 7 1/2 ips This reel is a duplicate of various tapes given to the U. of I. Music Library by Lauriston Marshall, Gualala, Calif. Each item is separated by white leader. Contents/Description of tape. 1. Marshall Tape # 28 "Oedipus"; (excerpt) from mid-scene 5 to end. 2. Marshall Tape # 29 ditto 3. Marshall Tape # 30 ditto. 4. Marshall Tape # 31 ditto 5. Marshall Tape # 32 "U.S.Highball"; rehearsal session. 6. Marshall Tape # 33 "U.S.Highball"; rehearsal session. (beginning) --completed on reel no. 3
10" reel to reel / 7-1/2 ips This reel is a duplicate of various tapes given to the U. of I. Music Library by Lauriston Marshall, Gualala, Callf. Each item is separated by white leader. Contents/Description of tape. 1. Marshall Tape # 33 "U.S.Highball"; rehearsal session. (concluded) 2. Marshall Tape # 34 "Bewitched" (fragment) 3. Marshall Tape # 35 "U.S. Highball" recording session takes-intercuts. 4. Marshall Tape # 36 "Discourse and Intrusions". (1950) reel a 5. Marshall Tape # 36 "Discourse and Intrusions" concluded. reel b 6. Marshall Tape # 37 "U.S. Highball" (rehearsal sessions). 7. Marshall Tape # 38 short fragments (probably takes from (beginning) recording session for "Windsong").
10" reel to reel / 7 1/2 ips All items on this 10" reel are dubs from 78 rpm recordings. All but U.S. High ball are from Harry Partch Archive, Music Library, Part I: U.S. Highball. From three record set of vinyl 78 rpm discs, issued by Warren M. Gilson, Madison, Wisc. in 1946. Note: the discs were in poor condition, and the numerous skips, repetitions of grooves, etc., could not be avoided. Part II (following white leader) footage: 000 Marshall Recording 6 U.S Highball (excerpt; last part) Audiodisc Recording Blank; two sides. 175 Marshall Recording 7 Barstow. Early version (without marimba.) Audiodisc Recording Blank; two sides. 380 Marshall Recording 8 Settings of Li Po Poems. Voice and adapted viola. Audiodisc Recording Blank; two sides. 581 Marshall Recording 9 Barstow. Early version (without marimba). This is a better-quality version than MO 52404. Steel core vinyl disc. Two sides 751 Marshall Recording All Audiodisc Recording Blanks: 10 a & b 3. "Isobel" from 2 Settings from Finnegan's Wake 4. "Annah the Allmaziful" from 2 Settings from Finnegan's Wake 5. "Y.D. Fantasy" (bad) [not taped] 850 6. "Y.D. Fantasy"
10" reel to reel / 7 1/2 ips This reel contains duplicates of various 33 rpm recordings in the U of I Music Library. Each item is separated by white leader. Title/issue number of record 1. "The Bewitched - A Dance Satire" Gate 5 Records. Issue No. 3 2. "Thirty Years of Lyrical and Dramatic Music" Gate 5 Records. Issue A. (side one only)
10" reel to reel / 7 1/2 ips This reel contains duplicates of various 33 rpm recordings in the U of I Music Library. Each item is separated by white leader. Title/issue number of record 1. "Thirty Years of Lyrical and Dramatic Music". Gate 5 Records. Issue A (side two only) 2. "And on the Seventh Day Petals Fell in Petaluma" Composers Recordings, Inc./CRI SD 213 3. "From the World of Harry Partch" Composers Recordings, Inc./ CRI 193 (side one; beginning of side two)
10" reel to reel / 7 1/2 ips This reel contains duplicates of various 33 rpm recordings in the U of I Music Library. Each item is separated by white leader. Title/issue number of record 1. "From the World of Harry Partch" Composers Rccordings, Inc. CRI 193 (conclusion of side two) 2. "Oedipus" A Harry Partch Trust Fund Edition (= Gate 5 Records. Issue No. 2)
10" reel to reel / 7 1/2 ips This reel contains duplicates of various 33 rpm recordings in the U of I Music Library. Each item is separated by white leader. Title/issue number of record 1. "Plectra and Percussion Dances" (excerpted) Gate 5 Records. Issue C 2. "Revelation in the Courthouse Park" (excerpted) Gate 5 Records. Issue F. 3. "Ulysses Departs from the Edge of the World," from New Music for Trumpet, Jack Logan, trumpet. Orion ORS-7294
10" reel to reel / 7 1/2 ips This reel contains duplicates of various 33 rpm recordings in the U of I Music Library. Each item is separated by white leader. Title/issue number of record 1. "Water! Water!" and "Rotate the Body in all Its Planes" (both excerpted). Gate 5 Records. Issue G. 2. The Wayward (excerpted) Gate 5 Records. Issue B.
10" reel to reel / 7 1/2 ips This reel contains duplicates of various tapes in the Marshall Collection, Harry Partch Archive. Each item is separated by white leader. Marshall Tape # 38 ?fragments from recording session for Windsong. Marshall Tape # 39 "Discourse" and Intrusions (incomplete) Marshall Tape # 40 recording session takes for Windsong. Marshall Tape # 1 recording session takes for Windsong Marshall Tape # 2 ibid. Marshall Tape # 3 Interview with Madeline Tourtelot and Harry Partch about Windsong. Marshall Tape # 4 The Bewitched: Prologue (incomplete)
10" reel to reel / 7 1/2 ips This reel contains duplicates of various tapes in the Marshall Collection, Harry Partch Archive. Each item is separated by white leader. Marshall Tape # 5 Lecture by Harry Partch prior reels a & b to live performance of Plectra and Percussion Dances. Marshall Tape # 6 reel a Lecture and demonstrations by Harry Partch; includes excerpts from The Bewitched.
10" reel to reel / 7 1/2 ips This reel contains duplicates of various tapes in the Marshall Collection, Harry Partch Archive. Each item is separated by white leader. Marshall Tape # 6 Lecture and demonstrations by reel b Harry Partch; includes excerpts from Bewitched. Marshall Tape # 7 Recording session; Partch playing various instruments. Recording session for Intrusions. Marshall Tape # 8 some unidentified performances of Partch music. Marshall Tape # 9 l. Intro. by Partch prior to broadcast of Oedipus. 2. Intro. by Partch prior to broadcast of Plectra and Percussion Dances.
10" reel to reel / 7 1/2 ips This reel contains duplicates of various tapes in the Marshall Collection, Harry Partch Archive. Each item is separated by white leader. Marshall Tape # 10 Dark Brother Marshall Tape # 12 Sonata Dementia (not all instrument parts are present). Marshall Tape # 17 unidentified marimba music Marshall Tape # 14 recording session takes for Intrusions Marshall Tape # 15 recording session for Intrusions Marshall Tape # 16 reel a "Discourse" and Intrusions.
10" reel to reel / 7 1/2 ips This reel contains duplicates of tapes in the Marshall Collection, Harry Partch Archive. Each item is separated by white leader. Brief description Marshall Tape # 16 reel b "Discourse" and Intrusions Marshall Tape # 13 reels a, b, c, & d The Bewitched.
10" reel to reel / 7 1/2 ips This tape contains duplicate of a set of tapes in the Harry Partch Archive Harry Partch Archive The Wooden Bird. Incidental music for Play of Tape # 14 & 15 that name - composed by Harry Partch and Ben Johnston, Gualala, California, (?) 1950. Duplicated from 2 reels.