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Topic: Harry Partch

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In the News (Sat 20 Jul 19)

  Harry Partch Biography
At age twenty-nine, Harry Partch gathered up fourteen years of music he had written, based on what he called the "tyranny of the piano" and the twelve-tone scale, and summarily burned it in a big iron stove.
A true maverick or visionary in the eyes of contemporary students, Harry Partch was derided by musicologists for most of his life, often called “The Don Quixote of Music.”; Only very late in life did he acquire a belated but significant international reputation as both a major musical composer and as an innovative genius.
Harry Partch was a hell-raiser, and iconoclast, a hobo, a visionary, a Bacchic monk, some say a schizophrenic, a mass of complexities, a dove and a great white shark.
www.composerjohnbeal.com /Partch.html   (1887 words)

  Harry Partch and the Sociology of Composition   (Site not responding. Last check: )
Partch's deployment of, say, Chinese scales, marimba-boogies, brass-band marches, or quasi-serial flurries is not the simplistic referentialism of post-modern composers.
Partch brings his old freewheeling hobo self into 'serious intellectual music circles,' and drinks booze in the corner, occasionally shouting obscenities at the career-musicians and trendy concert-goers: the cranky anarchist.
Partch's music is as it is because of the connexion with his life.
www.furious.com /perfect/harrypartch.html   (1077 words)

  Harry Partch
Harry Partch (June 24, 1901 - September 3, 1974) was an American composer.
Partch went on to write The Bewitched, a sort of cross between a ballet and an opera and Revelation in the Courthouse Park, a work based in large part on Euripides' The Bacchae.
Partch was never very well known, but he set up his own record label, "Gate 5", to release recordings of his works.
www.ebroadcast.com.au /lookup/encyclopedia/ha/Harry_Partch.html   (752 words)

 Kalenderblatt/Druckversion - 24.06.2003 - Harry Partch geboren
Weil Partch unsere gemeinhin gebräuchliche zwölfstufige Tonleiter nicht mochte, hatte er eine eigene Tonleiter mit 43 Tonschritten erfunden.
Der Vater sammelt Musikinstrumente, der junge Harry studiert die Musik der einheimischen Indianer und hört Edison-Phonographwalzen: Mit 14 fängt er an zu komponieren, mit 22 gibt es Klavierkonzerte und Streichquartette, mit 28 verbrennt er alles und beschließt, etwas völlig Neues zu machen.
Und meine Musik hatte ich dabei, wohin ich auch ging: in meinem Hobo-Bündel." In dieser harten Zeit schreibt Harry Partch an seinem Lebenswerk, einem dicken musikwissenschaftlichen Buch, handelnd von Entstehung und Theorie seiner selbsterfundenen Musik.
www.br-online.de /wissen-bildung/kalenderblatt/druckversion/2003/prkb20030624.html   (422 words)

 ANABlog: Harry Partch, "Adapted Viola"
Harry Partch is the living embodiment of the religion of Doing Your Own Thing, If there is a doyen hippie, he is it, so completely that he doesn't even recognize it.
Harry Partch was born June 24, 1901, in Oakland, California, the third child of Presbyterian missionaries who had spent 10 years in China prior to his birth.
Young Harry, by the time he was 6, not only knew how to play the reed organ, but also the guitar, the clarinet and the harmonica.
www.analogartsensemble.net /2006/09/harry-partch-adapted-viola.html   (714 words)

 Art of the States: Harry Partch   (Site not responding. Last check: )
Partch rejected the tradition of equal temperament in Western music, and devoted his life to creating a system of just intonation he referred to as 'monophony,' which eventually grew to consist of 43 tones per octave (or gamut).
Partch was born in Oakland, California and grew up in the southwestern United States.
Partch's life as a transient ended when he received a Guggenheim fellowship in 1943; from 1944 to 1947 he was associated with the University of Wisconsin-Madison.
artofthestates.org /cgi-bin/compbio.pl?compname=partchharry   (426 words)

 Embellishments 12: Harry Partch, Barstow: Eight Hitchhiker Inscriptions
Partch’s music is full of what seem to be familiar harmonies, although they are tuned according to ratios, not logarithms, and their progressions are unique to him.
Of Harry Partch’s works, Barstow, which he composed in 1941 as one of a series of “Americana” pieces, is one of his most accessible scores and has always been one of his most popular works.
The more instruments Partch developed, the more new tablatures were necessary, so that a Partch score became, with the exception of vocal parts (which eventually relied on a more-or-less standard notation), a collection of instructions with no readily visible pitch content.
www.areditions.com /rr/embellish/2000_12/feature.html   (819 words)

 Alan Shaw
Partch's belief in "vital words" in music was only part of his larger belief in corporeality, and in his later works he seems to have relied more on other means to achieve it--the visual appeal of the instruments, the physicality of the performers, the tone colors of the music itself.
Partch's practice, on the other hand, when he sets words to music, is to follow the prose rhythms of the text; there is no attempt to compose the words themselves to the desired musical rhythm, which was what the Greeks did.
Partch himself clearly saw his tuning system as a personal choice, suited to the ethos of his work, as was his decision to set words according to their prose rhythm instead of a metric scheme.
www.altx.com /ebr/ebr5/partch.htm   (1629 words)

 Browse by Artist: PARTCH, HARRY
Partch's own spoken introductions to two of the works are included as well as an extensive booklet.
With the appearance of this recording, the complete works of Harry Partch (1901-1974), one of the most important of American artists, are available for the first time (the remaining works are published largely by innova's Enclosure series and the CRI Partch Collection).
It was commissioned by the patroness Betty Freeman for her film on Partch which was directed by Stephen Pouliot.
www.forcedexposure.com /artists/partch.harry.html   (2417 words)

 Harry Partch
Partch, as he was inevitably called, was not only arguably one of the greatest and most individualistic composers of all time, but an innovative theorist who broke through the shackles of many centuries of the one tuning system for all of Western music.
Partch was known as a hell-raiser and iconoclast, a hobo, a visionary, a Bacchic monk, some say a schizophrenic, a mass of complexities, a dove and a great white shark.
The message of Harry Partch, for musicians and nonmusicians alike, is that there are still choices to be made and independent paths to pursue.
www.virtualvenice.info /music/partch.htm   (1079 words)

 Hari Kunzru: Harry Partch
Partch's move was in some ways a typical avant-garde gesture, the artist signalling his rupture with deadening tradition.
Partch rejected this, going back to the mathematically purer primitive scale, which he subdivided according to his own rules.
Partch's ambivalent relationship with Western musical tradition went further, as he first started modifying guitars and violins to play his new scale, then began building entirely new instruments.
www.harikunzru.com /hari/partch.htm   (593 words)

 Ink 19 :: Enclosure 3: Harry Partch
Still, through it all, it is clear that Partch's dedication was to his music and art, and not to the general public's acceptance of it.
Handling derision and smirking complacency with articulate aplomb, Partch's letters to cretinous editors and frightened "patrons of the arts" show that though his concepts may have been alien to many, their creator was merely a man looking for others who could appreciate them as he did.
Partch was a complex person, artistically speaking; glances at Partch's Harmonic Canons and Diamond Marimba might intrigue further reading, but true comprehension of the magnitude of Partch's vision eludes quick grasp.
www.ink19.com /issues_F/98_08/wet_ink/print/134_enclosure_3_nf.html   (629 words)

 Harry Partch at AllExperts
Partch was born on June 24 1901 in Oakland, California.
Due to peculiarities of media reporting, Partch is famous for his 43-tone scale, even though he used many different scales in his work and the number of divisions is theoretically infinite.
Harry Partch's desire to use a different system of tuning required him to drastically modify existing instruments and build new ones from scratch.
en.allexperts.com /e/h/ha/harry_partch.htm   (1501 words)

 DRAM-featured: Harry Partch
Innova Recordings' collaboration with DRAM consolidates all but a few of the late composer Harry Partch's recordings in one place.
Partch (1901-1974), one of America's most original musical figures, taught himself as a young man to play instruments including the guitar, clarinet, and harmonium.
Partch developed a theory of a 43-note octave, and then, to handle these extra 31 notes, he built instruments with fun names like Crychord, Drone Devils, Cloud-Chambers Bowls, Zymo-Xyl, and Quadrangularis Reversum.
dram.nyu.edu /mt/dram-featured/archives/2005/05/harry_partch.html   (444 words)

 Harry Partch -- his online home IS Corporeal Meadows
We are one set of viewpoints, presented in a tone that we hope Harry himself would have approved: sometimes irreverent, occasionally bordering on the academic, essentially uncompromising.
First off, not a concer per se but a broadcast: If one desired the opportunity to hear a 4-hour radio special devoted to the life and work of Harry Partch, one could be satisfied in a few hours.
There were a couple of the email addresses that were not correctly forwarding to the Harry Partch Foundation, and some emails to us may have been missed in the last couple of months.
www.corporeal.com /cm_main.html   (580 words)

 American Mavericks: Harry Partch's Instruments
By 1969, the year he recorded "Delusion of the Fury," Harry Partch had designed 27 new instruments, all to be played on stage at the same time in a spatial ritual theater.
These instruments were made to be beautiful in sound, vision, and "magical purpose." They were tuned according to the natural overtone series, "Just Intonation" Some, like the Chromelodeon, had as many as 43 tones in a single "octave." He made particular instruments for specific needs in his compositions, not the other way around.
Additional sounds recorded at the Harry Partch Institute, under the direction of Dean Drummond.
musicmavericks.publicradio.org /features/feature_partch.html   (201 words)

 Review - Harry Partch: The Harry Partch Collection Volume 3   (Site not responding. Last check: )
Harry Partch (1901-1974) was a self-taught musician of truly unique musical vision.
Partch's music encompassed avant-garde and experimental 20th century classical as well as serving as an important pioneer in microtonal and world fusion music.
Partch was a musical genius that over twenty years after his death still sounds iconoclastic today.
www.cosmik.com /aa-marchapril05/reviews/review_harry_partch.html   (370 words)

 HurdAudio: Hall of Heroes: Harry Partch
Partch found his "revelation" in the form of Herman von Helmholtz's On the Sensation of Tone.
The music of Harry Partch is an audible fulfillment of radical credo.
Partch applied lessons learned from Chinese theatre and Noh-plays toward a pursuit of corporeal expression that is ritualistic and human.
hurdaudio.blogspot.com /2004/12/hall-of-heroes-harry-partch.html   (1361 words)

 Harry Partch
Harry Partch - Biography provided by composer John Beal with photographs and in-depth commentary on the integral role played by the various Partch-invented instruments.
Harry Partch - Classical Composers Database entry features life, commentary on the infrequency of his works being performed, and his individualistic creativity.
Harry Partch Archives at San Jose State University - "This page is in honor of and in tribute to Harry Partch and is intended to serve as a research resource for his work and a invitation to others to take a step outside." Text-only, but has excellent library resources.
www.hotguitarist.com /bands/P/partch_harry.htm   (229 words)

 Harry Partch 'A Just Cause' by Paul serotsky- Jan 2004 MusicWeb(UK)   (Site not responding. Last check: )
I discovered that the California-born Harry Partch, far from being simply a "crackpot inventor" and composer of "rubbish", is in fact an archetypal "pioneer", riding his covered wagon westward into musical territories to all modern intents and purposes utterly uncharted.
As a young man, Partch (1901-74) became increasingly dissatisfied with the entire "business" of music, with its widespread emphasis, both by teachers and authors, on high levels of instrumental skills and on playing and composing "technique".
Partch used to stage experiments during lectures, playing corresponding chords in both systems to the "innocent ears" of his audience, who would then be invited to vote for which they preferred.
www.musicweb.uk.net /classrev/2004/Jan04/partch_just_cause.htm   (3361 words)

 Harry Partch : Enclosure Five - Listen, Review and Buy at ARTISTdirect
A spoken introduction to "Oedipus," by Partch, explains his aims in seeking an historically rooted purity of theater unifying the importance of dialogue, story and music.
Through most of the work, Partch's music is played on such exotic creations as diamond marimbas, chromelodeons and adapted microtonal stringed instruments which take a backseat to the exchange of dialogue.
One is reminded that Partch spent part of his life as a Depression-era hobo when one hears the potent language exchanged, as if by rootless cynics over a bowl of Mulligan stew.
www.artistdirect.com /nad/store/artist/album/0,,375654,00.html   (287 words)

 Partch, Harry
Harry Partch was born in Oakland, California as son of missionary parents on 24 June 1901.
The influence of his music, however, on other composers has been profound and unabating, as is evident in the works of composers experimenting with just intonation, in mixed-media works since the 1960s, and in the percussive motor-rhythmic music of the minimalists.
Harry Partch died in San Diego on 3 September 1974.
www.schott-music.com /autoren/KomponistenAZ/show,3539.html   (285 words)

 MSU - Sprague Library - Harry Partch: A Bibliography
Harry Partch (1901-1974) was an American composer, theorist, instrument maker and performer.
In the 4th: Harry Partch Ensemble; Danlee Mitchell, director.
The Dreamer That Remains a Portrait of Harry Partch.
library.montclair.edu /partch.html   (417 words)

 Harry Partch - A Poet's View
Partch's belief in "vital words" in music was only part of his larger belief in corporeality, and in his later works he seems to have relied more on other means to achieve it - the visual appeal of the instruments, the physicality of the performers, the tone colors of the music itself.
Since Partch was not a poet himself, this kind of "composing" was not something he could easily tackle (he had, after all, enough hats to wear!).
Partch himself clearly saw his tuning system as a personal choice, suited to the ethos of his work, as was his decision to set words according to their prose rhythm instead of a metric scheme.
www.electronicbookreview.com /thread/electropoetics/questioning   (1588 words)

 the pathetic caverns - music by artist - Harry Partch
But Harry Partch (1901-1974) was almost as much an inventor and a music theorist as a composer: he designed and built instruments with strange, evocative names like Cloud-Chamber Bowls, Quadrangularis Reversum, Harmonic Canon, and Spoils of War.
Partch's use of human voices within the piece evokes monastic chanting.
This reissue of the long out-of-print work is handsome, with notes from Partch's score, excerpts from his correspondence, an appreciation of the work, and photographs of the performers and the instruments.
www.pathetic-caverns.com /music/p/harry_partch.php   (887 words)

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