(Note: This catalogue is formatted to be read at 10 pt courier, single ...

The Harry Partch Archive
University of Illinois Music Library
A Guide to the Collection
15 October 2005
Music Library
University of Illinois
at Urbana-Champaign
1

INTRODUCTION
The Harry Partch Archive 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 Archive was the
donation by Lauriston C. Marshall of a group of tapes, recordings, documents,
and letters. The Music Library has previously acquired in 1975 through Irv
Wilson a set of scores reproduced from Partch's vellum masters. Through the
years, the Music Library had acquired many of Partch's Gate 5 records and
tapes of his lectures and premieres of works at the University of Illinois.
The Archive has collected interviews with persons who knew or worked with
Partch; obtained copies of all known scores by Partch; collected
correspondence, recordings, and other documents; acquired copies of articles
about Partch and his music; and compiled a bibliography of writings about
Partch (see McGeary, "The Music of Harry Partch").
Much of the work of collecting, organizing, and cataloguing material has been
make possible through a generous grant to the Archive made by Betty Freeman in
1986.
Materials are organized and accessed in two places:
I. Special Collections, Music Library. Bound scores, microfilms of some
conducting scores, books, dissertations (bound or on microfilm), back-up
duplicate tapes, and records are housed in the general collection of the Music
Library. Items in Special Collections do not circulate. All these items are
accessed through the Music Library card catalogue (recently catalogued items
on are the computerized catalogue). In Special Collections will be found
copies of virtually all scores, in all their versions, of all Partch
compositions. In most cases, call numbers can be identified in The Music of
Harry Partch: A Descriptive Catalogue.
II. Harry Partch Archive. Archival material, interview cassettes, and other
discs and tapes (not to be played) are located in the Archive proper. These
materials are accessed through the present guide. The materials are
inventoried (with full descriptions and itemizations) in several open-ended
series:
Individual collections of diverse material kept as integral collections
to preserve and document the unique, long-term relation between the
donor and Partch. These may be original material or sets of photocopies
of collections still privately owned or in public libraries. Each
collection is inventoried separately.
Harry Partch Estate Archive. Beginning in January 1991, Danlee
Mitchell, president of the Harry Partch Foundation and Partch's executor
and heir, began depositing at the University of Illinois Music Library
materials from Partch's estate.
Individual folders containing small groups of letters or documents.
These may be original or photocopies.
Bibliography project. 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 listed 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 consists of various
2

items about Partch published after 1974. To date, no attempt has been
made systematically to collection copies of writings after 1974.
Photographs. Photographs, negatives, and slides transferred from various
individual collections and folders.
Musical scores. Photocopies of original scores from various sources.
Ben Johnston Transcription Project. A box containing correspondence and
copies of transcriptions (in Johnston's special notation) of a number of
early Partch scores.
The original cassettes of oral history interviews. THESE TAPES MAY NOT
BE DUPLICATED OR DIRECTLY QUOTED FROM WITHOUT PERMISSION OF THE PERSON
INTERVIEWED.
Duplicate cassettes (most are duplicates of reel-to-reel tapes in the
Archive, or duplicates of tapes owned by other institutions or persons).
Tapes: reel to reel tapes (mostly duplicates of tapes owned by other
institutions or persons). There are duplicates of these in the
Duplicate Cassette series or in Special Collections for the purpose of
listening. (See Appendix I)
Microfilms and slide strips: microfilms of documents owned by other
institutions or libraries.
Oversize: a 18" x 22" box with misc. large-size items.
Copyright. Users of the Archive must realize that virtually all letters and
documents are unpublished, and are thus subject to copyright laws governing
their use. In general this means that short quotation must follow guidelines
for 'fair use'; publication of entire documents will require permission of the
copyright owner, i.e., the author or his/her heirs or literary executor.
Duplicating. The only items that may be photocopied are original documents
donated to or purchased by the Archive (which are nonetheless still subject to
the above copyright restrictions). UNPUBLISHED DOCUMENTS THAT THE ARCHIVE
HOLDS IN PHOTOCOPY FORM MAY NOT BE FURTHER PHOTOCOPIED WITHOUT PERMISSION OF
THE ORIGINAL OWNER. In almost all cases, these photocopies were provided by
other libraries or individuals with the condition they were not to be further
copied or loaned.
3

I. INDIVIDUAL COLLECTIONS
BMI
Jean Culter
Oliver Daniel
Betty Freeman
John Simon Guggenheim
Memorial Foundation
Barnard Hewitt
Robert Kostka
Lynn Ludlow
Lauriston C. Marshall
Danlee Mitchell
Stephen Pouliot
Peter Yates
II. HARRY PARTCH ESTATE ARCHIVE
Manuscript scores
Numbered folders
Unnumbered folders
III. HARRY PARTCH ARCHIVE
1. Individual folders
2. Musical scores
3. Photographs
4. Bibliography project
CONTENTS
5. Ben Johnston Transcription Project
6. Oral history interviews
7. Duplicate cassettes
8. Tapes
APPENDICES
9. Microfilms and slide strips
10. Videocassettes and films
11. Oversize
1. Duplicate Tapes in Special Collections
2. Dissertations and Relevant Books and Magazines in the Music
Library general collection
4

I. INDIVIDUAL COLLECTIONS
5

The BMI
HARRY PARTCH COLLECTION
Complete contents of BMI (Broadcast Music, Inc.) publicity file about Partch;
given in December 1987.
Folder 1 Correspondence with BMI, largely about obtaining collection (1987)
Folder 2 Two scenarios for The Bewitched: xerox 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.) (both n.d.)
Folder 3 Concert programs and recording brochures: also BMI brochure;
originals
Folder 4 Program and press release for Whitney Museum Concert (8 & 10 Sept.
1968): xerox copies
Folder 5 Newspaper and magazine clippings: misc. original and photocopies
of articles about Partch (1957-68)
6

The Jean Cutler
HARRY PARTCH COLLECTION
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
Part 1: Printed Materials (in archival boxes)
Especially important are the typescripts (originals or carbons) 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.
Box 1
Folder 1 Correspondence regarding obtaining the collection, including
Cutler’s summaries of contents of 1/4” audio tapes and
inventories of his collection.
Folder 2 Xerox of scenario for "Delusion of the Fury" (16 pp), with
several timings added in ink.
Folder 3 Typescript carbon of essay "American Musical Tendencies by Harry
Partch (1947)" (6 unnumbered pp.)
Folder 4 (a) Typescript carbon of essay "A Modern Parable -- I" (3 pp.)
dated "New York City, Spring, 1933.” (b) Typescript carbon of
essay "A Modern Parable -- II" (3 pp.) dated “Camp Devore, Cajon
Pass, San Bernardino County, April 26, 1938.”
Folder 5 Typescript carbon of essay "A Somewhat Spoof" (3 pp.) dated
“Champaign, IL, September 1960”
Folder 6 Typescript carbon of "U.S. Highball: Introduction to a Film
Script" (11 pp.) Petaluma, no date.
Folder 7 Typescript carbon of "Prelude to Talk" 1 unnumbered page. Then
"Introduction to Examples of Intonation," a general discussion of
HP'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)
Folder 8 Typescript carbon of scenario for "Cry from Another Darkness"
(i.e., “Delusion of the Fury”) (7 pp.) Dated “Van Nuys, Calif.,
December 30, 1964”. With letter to Cutler (Jan. 4, 1965)
Folder 9 Typescript scenario for "Revelation in the Courthouse Park" (27
pp.) [missing further page(s)]; dated “September 5, 1959”;
scenario includes sketch of fountain, and (on p. 9) stage-floor
7

plan for Chorus I; other ink descriptions or vocal lines. Also
service photocopy to be used for further reproduction.
Folder 10 Copy of Columbia Bonus Record (6 3/4" black vinyl; Stereo BTS
17), "The Wild Sounds of New Music" with excerpt of Partch's
“Castor and Pollux” among works of other composers.
Folder 11 Folder of concert, lecture, festival, and recording notes,
programs, and brochures
Folder 12 Folder of Jean Cutler MS rehearsal notes for "Revelation in the
Courthouse Park" with blueprint of stage floorplan for
"Revelation". Also service photocopy to be used for further
reproduction. of
Box 2
Folder 13 Folder of newspaper and magazine clippings
Folder 14 Film release forms (for film “The End of Life Is Perception--
Harry Partch”) and letters from Partch to Cutler, 1963-1970;
letter from Linda Schell.
Folder 15 Jean Cutler’s notes and correspondence for his uncompleted film
“The End of Life Is Perception”
Folder 16 Folder of shot lists and editing record for Cutler’s unfinished
film about Partch, “The End of Life Is Perception”
Folder 17 Photographs (only a few negatives) of Partch taken by
(presumably) Jean Cutler (ca. 1970). Folder removed to Photograph
box
Folder 18 Photographs (with negatives) taken from Partch’s own photo-album.
Folder removed to Photograph box
8

Part 2: Audio Tape
Interviews between Harry Partch and Jean Cutler. Summaries as provided by Jean
Cutler (see Folder 1): 5" reels (? at 7-1/2 ips)
Tape A: 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
Tape B: Has part of the Potion Scene anecdote - the rest is on 16 mm - also
talks about the Delusion film.
Tape C: Mother, Father, Frieda, Yates, Lou Harrison, Arch Lauterer, Garvey,
MacKenzie, Talbot
Tape D: Columbia recording - Delusion rationale - John McLure, Judith Anderson
- opera - the “Visual-Musician” - Americana - Hobo speech -
Barstow - Newsboy - U.S. Highball - Walt Whitman
Tape E: 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
Tape F: “ I refuse to strain after explanation ... 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
Tape G: intuition - chaos - explanations - H--a (?) Indians - totem poles -
Capt. Cook’s artist
Tape H: Hoopah (?) Indians rhythm of 13 and of 11 - Zulus speech - rituals -
rhythm and breathing
Tape I: drums - procession - Edison recordings - Pueblos - Zunis - Hopis -
Partch sings - congo puberty ritual - mathematics - paradox -
perception
Tape J: U.S. Highball - the use of the subjective voice - conversations -
sign - experiences as a hobo - places he has lived
Tape K: Frieda - St. Louis - play - “The Wooden Bird” - Harry and Ben Johnston
- Will Leach - Collette - “The Child and Sorcerer” - Anecdotes re:
Ben’s (?) perfect pitch - John Cage and Harry in polarity - the
trouble with old men
Tape L: Yeats - Oedipus - Bucky Fuller - poetry - his arguments for
“Revelation,” “Oedipus,” “Delusion,” and “The Dreamer” - chaos
Tape M: Carnegie International - Edward R. Murrow - British Museum - Italy -
London - U.S.A. - Los Angeles - Sacramento - hobo speech - “Bitter
9

Music” - Guggenheim. Note: Contact with Idaho publisher - also,
microfilm to L.C. Marshall
Tape N: generation gap - beatniks, hippies, and hobos - his music required his
instruments
Tape O: Partch edited voice track transferred to 16mm magnetic - mundane
subjects - Partch rebellious nature
Tape P: Partch music - various short reflections - plus an extended selection
from U.S. Highball - coda from Revelation
Tape Q: Partch music (see box for descriptions
Tape R: interviews continued
Tapes S-T: DAT duplicates of the above tapes A-R
7" reels (?? at 7-1/2 ips; full reels):
Tape AA Bewitched and 30 Years of Lyrical Music
Tape BB Water! Water! Rehearsal tape: 1st - 6th Prol. and part of 7th
(recorded Feb. 8, 1962 at 3 3/4 ips)
Tape CC Water! Water! Rehearsal tape: 1st through 8 prologues
Tape DD Revelation in the Courthouse Park: Rehearsal Tape with John Garvey
singing: Cho. 1, Sc. 1, Cho. 2
Tape EE Revelation in the Courthouse Park: Rehearsal Tape with John Garvey
singing: Sc. 2, Cho. 3, Sc. 3
Tape FF Revelation in the Courthouse Park: Rehearsal Tape with John Garvey
singing: Cho. 4, Sc. 4, Coda, plus Rotate the Body in All Its Planes
Tape GG Unidentified Jazz: Labeled "New 4th & 5th Jazz #'s"
10

Part 3: Video Film
Originally 8,000 to 10,000 feet of original black and white and color 16-mm
film stock of Partch, instruments, and performances (“And Petals Fell on
Petaluma”). Filmed in Partch’ second warehouse-studio in Encinitas, CA, in
1969 after production of Delusion of the Fury (the first ware-house studio
was unusable because of the fumes from the adjacent shop). Another 8,000 to
10,000 feet of work prints of an unfinished documentary. Also small amount of
16-mm magnetic tapes for use as soundtrack. Footage not showing Partch, his
instruments, or performances has been deaccessioned (summer 2005).
The retained footage has been spooled onto 16mm cores and each placed in
archival film can.
Selected footage (including all the 16mm magnetic tape has been re-formatted
onto CD and DVD and cassettes). The only shots where sound and video exist
together are for musical performances of duets and trios from And on the
Seventh Day Petals Fell in Petaluma; these have been roughly mated on a CD.
These resulting CDs, DVDs, and cassettes are in a box (Jean Cutler
Reformatting Project) along with several timings/inventories of the contents
made by Richard Griscom, Tom McGeary, and Danlee Mitchell.
11

The Oliver Daniel
HARRY PARTCH COLLECTION
Xerox copies (and some original materials) in the possession of Oliver Daniel.
Folder 1 Correspondence with Donald Ott regarding obtaining xeroxes of
collection (1987-88).
Folder 2 Xerox copies of correspondence (and other materials sent by
Partch) between Harry Partch and Oliver Daniel (1954 to 1972).
Including sheet of pull quotes; “Statement” (31 May 1960) (begins”
“I am a traditionalist ...”) (4 pp.)
Folder 3 Xerox copies of misc. correspondence to and from Partch, Daniel,
Carl Haverlin, Gerd Stern, and others. (1954-74)
Folder 4 Newspaper and magazine articles (original and xerox copies) (1957-
74)
Folder 5 Misc. brochures, programs, material for Whitney Museum concert,
press releases, budget for projected Oedipus production at
Columbia University, “Cry from Another Darkness (6 pp.) (scenario
for Delusion) (ca. 1954-69)
12

The Betty Freeman
HARRY PARTCH COLLECTION
Betty Freeman met Partch in Pasadena in 1964 and became one of his most
important friends, patrons, and sponsors. She helped Partch locate studios,
helped found the Harry Partch Foundation, arranged 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.
Betty Freeman was born in Chicago, raised in Brooklyn, graduated from
Wellesley College in Boston in music with piano, moved to Los Angeles in 1950
and began collecting contemporary American art, and wrote books about the
visual artists Clyfford Still and Sam Francis. Presently she is working on a
book about Harry Partch. In 1979 she married the Italian artist Franco
Assetto and began living half the year in Turin.
She has had major exhibits of her photographic series Music People at Otis-
Parson Gallery, Los Angeles (1985); Galleria Decalage, Milan (1987); Los
Angeles Philharmonic and Brooklyn Academy of Music (1988); University of
California Irvine (1989); four shows in Japan (January and February 1990);
Berlin Philharmonic Kammermusiksaal (November 1990), and Cologne Philharmonic
(December 1990); and subsequently. To date, seven installments in her Music
People photograph albums have been privately published.
As an active patron of contemporary music, she began holding monthly musicales
presenting contemporary composers at her home in Los Angeles. She has
promoted the music of John Cage, La Monte Young, Virgil Thomson, Lou Harrison,
and Terry Riley--as well as the newer generation of composers Steve Reich and
Philip Glass and the director Robert Wilson. Of West Coast composers, she has
supported Robert Erickson, Paul Dresher, Morton Subotnic, Dane Rudhyar, Peter
Garland, Daniel Lentz, and John Adams.
She has commissioned and co-produced numerous musical commissions,
performances, and recordings. She has received the dedication of John Cage's
The Freeman Etudes (1977) and John Adam's Nixon in China (1987). She has
served on the NEH panel (1983-84). She and has received awards from the
Cunningham Dance Foundation (1984); from the American Music Center (1986); the
American Symphony Orchestra League (1987). She was elected to the Board of
Directors of the Los Angeles Philharmonic in 1987.
The bulk of the collection was donated in January 1979, with supplements in
several later years, especially 1999.
Box 1
Contents
Folder 1 correspondence from Harry Partch: xeroxes of letters (1964- 1974)
Folder 2 misc. programs, brochures, newspapers clippings, and publicity
material (mostly relating to films and concerts in southern
California in the 1960s) (1966-1977)
Folder 3 misc. correspondence (1966-1976): originals and photocopies of
letters to and from Betty Freeman regarding Partch. 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.
13

Folder 4 correspondence with Peter Yates: originals and photocopies
(1969-1973)
Folder 5 correspondence with U.C.S.D.: originals and photocopies of letters
with various administrators about Partch's appointment (1967-70)
Folder 6 correspondence regarding Harry Partch Foundation and distribution
of The Dreamer that Remains: originals and photocopies (1970-1972)
Folder 7 photographs of Harry Partch: original prints or photocopies of
photographs taken by Betty Freeman and others. Removed to
Photograph box.
Box 2
Folder 8 material relating to January 1975 performance of The Bewitched at
U.C.L.A.: correspondence, contracts, publicity material, etc.
(1974- )
Folder 9 material relating to proposed Smithsonian tour (1969-1971):
correspondence, minutes, brochure, etc.
Folder 10 material relating to lease of studio in Solana Beach (1970):
letters, contracts, receipts
Folder 11 final script for The Dreamer that Remains: xerox copy (22 pp.)
Folder 12 (a) Partch's original (and rejected) scenario for The Dreamer that
Remains (27 May 1972) (6 pp. with pencil annotations by Betty
Freeman) (b) and portion of chapter 14 of Genesis of a Music
dealing with Delusion of the Fury: xerox copies
Folder 13 materials relating to the film The Dreamer that Remains: list of
invitations, publicity material, etc.
Folder 14 transcripts of interviews conducted for The Dreamer that Remains:
original typescripts and photocopies; speakers in Harry Partch,
Danlee Mitchell, Jim Aitkenhead. Gift in January 1979)
Box 3
Folder 15 (a) Xerox copies (and some originals) of various research material
about Partch (letters, newspaper clippings, brochures, etc.);
texts to Barstow (3 pp), The Dreamer That Remains (22 pp.); text
of interview with Henry Brant (1985) (b) Source: Music of the
Avant Garde, nos. 1 & 2
Box 4 (second deposit, 1999)
Folder 16 Newspaper and magazine articles about Partch (1989-98)
Folder 17 Misc. brochures, announcements for concerts
Folder 18 Correspondence about Partch; includes corr. about memoval of
Partch instruments from Purchase College (1991-99)
Folder 19 Correspondence, etc., with Philip Blackburn about his Enclosures
project (1996-97)
14

Folder 20 Harry Partch: typescript with MS in ball point pen of movement
titles for And on the Seventh Day Petals Fell in Petaluma
(enclosed with Betty Freeman Collection tape no. 1)
Box 5 Betty Freeman's copy of the first edition of Genesis of a Music
(inscribed by Partch 22 April 1965); copy of Interval (fall 1978)
and Soundings no. 2
Box 6 (pocket folder)
Boxes 7-11
Cassettes & CDs:
1) Otto Luening interview with Betty Freeman,
two cassettes, Nov. 22, 1986
2) David Dunn interview with Betty Freeman, Santa Fe,
Hotel Coronado, Aug. 9, 1988
3) Philip Blackburn and Dean Drummond interview with
Lianne Hanson about Harry Partch, April 19, 1998
(broadcast on NPR radio - in whole or part?)
4) SYZYGYS - CD 43D.P.O. Betty Freeman provided this
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.”
Out-takes from filming for The Dreamer That Remains (16mm film and 16 mm
sound recording tape). The set comprises about 80 small finger rolls
(small spools without cores or reels). Various degrees of description
are written on the rolls or on the boxes. Transcribed are original
titles on boxes with Betty Freeman’s annotations.
Box 7 HANGING CLOTHES / BODY: “Scenes of Partch exercising not
used in film. Hanging clothes scene was used partially.
Worth doing. No sound Mos.”
Box 8 REHEARSAL: “Could be fun to put this together. Rehearsal
scene. A lot was not used in the film. Sound & film.”
Box 9 EKTARA / BELLY DRUM & Gumbo: “Ektara & Belly Drum & Gumbo
Scenes. Not used at all in the film. Should be most
valuable. Partch demonstrating Inst. Sound & film.”
Box 10 ROSE PETAL JAM: “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 & film.”
Box 11 BASS DYAD / MOS REACTIONS: “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 &
v.o.”
Film 1 The Dreamer That Remains (on 12” reel); the half-hour movie
[formerly MP Film/ M1527/P27D73]
Film 2 The Dreamer That Remains (on 9” reel); the half-hour movie
15

[formerly MP Film/M1527.P27D73]
Film 3 The Dreamer That Remains (on 9” reel); the 10-minute film of the
composition only
Tape 1 And on the Seventh Day Petals Fell in Petaluma (2-track stereo,
7 1/2 ips)
Tape 2 Harry Partch lecture at the University of Hawaii (1/4 track stero,
3 3/4 ips)
16

John Simon Guggenheim Memorial Foundation
HARRY PARTCH COLLECTION
Xerox copies of materials in the John Simon Guggenheim Memorial Foundation,
New York, files. Presumably not included are reference letters from third
parties.
- - NONE OF THIS MATERIAL MAY BE PHOTOCOPIED WITHOUT PERMISSION OF OWNER- -
Folder 1 Correspondence with the Foundation regarding obtaining xeroxes
(1980-82).
Folder 2 Letters (and other occasional documents) from Harry Partch to
Henry Allen Moe (1933-1963)
Folder 3 Partch's 1933 Fellowship application (letters and other material)
Folder 4 Partch's 1934 Fellowship application (letters and other material)
Folder 5 Partch's application to Yaddo (?1942)
Folder 6 Partch's 1943 Fellowship application (and related correspondence)
Folder 7 Correspondence regarding 1950 Fellowship
Folder 8 ?Carbons of letters from Partch to Douglas Moore (1959-60)
Folder 9 Letters to Gordon Ray (1961-1966)
17

The Barnard Hewitt
HARRY PARTCH COLLECTION
Original materials given by Barnard Hewitt in 1978.
Box 1
Folder 1 Inventory of collection (prepared by Barnard Hewitt) and obituary
of Hewitt
Folder 2 Correspondence between Partch and Hewitt (1959-66)
Folder 3 Miscellaneous correspondence among various persons dealing with
Partch and productions at UUIUC (including letters to or from
Partch or Hewitt): originals and some carbons or thermofax copies
(1961-69). Included are Pierre Schaeffer, John Garvey, UIUC
administrators, Oliver Daniel, and Jacques Barzun.
Folder 4 Various internal University of Illinois departmental documents
(contracts, budgets, etc.) dealing with Partch's appointments and
productions (1959-62)
Folder 5 Miscellaneous newspaper and magazine clippings
Folder 6 Carbon copy of libretto for Revelation in the Courthouse Park with
paste-over corrections by Partch and annotations by Hewitt
Folder 7 Carbon copy of early version of scenario for Delusion of the Fury
(16 pp.) (Jan. 17, 1965)
Folder 8 Mimeograph copy of libretto for Water! Water! with Hewitt's pencil
annotations (1961)
Folder 9 Programs and program notes of Partch productions; including The
Bewitched, Delusion, Water! Water!, Revelation
Folder 10 Prospectuses and brochures for Gate 5 recordings
Box 2 Revelation in the Courthouse Square (formerly catalogued in
Special Collections; see description in The Music of Harry
Partch); full score used in UIUC production. Removed and placed
with Musical Scores.
Box 3 Water! Water! (formerly catalogued in Special Collections; see
description in The Music of Harry Partch); full score used in UIUC
production. Removed and placed with Musical Scores
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.
18

The Robert Kostka
HARRY PARTCH COLLECTION
Complete collection of original materials purchased from Kostka in November
1987.
Folder 1 correspondence regarding purchase of collection and other matters
relating to Partch (1987-88)
Folder 2 correspondence from Harry Partch: original letters (1953-1963)
Folder 3 Two slides of record album cover for "30 Years of Lyric and
Dramatic Music"
Folder 4 Photographs of WTTW-TV, Chicago, The Bewitched broadcast: 8/1/2 x
11 proof sheets and 5" x 7" prints. See letter in Folder 1 about
circumstances of photographs. Removed to Photograph Box.
Folder 5 carbon typescript of U.S. Highball film script: carbon copy of
introductory essay and tentative film script (29-pp.) (n.d. Yellow
Springs, Ohio)
Folder 6 misc. newspaper clippings: original brochures for early
subscription recordings
19

The Lynn Ludlow
HARRY PARTCH COLLECTION
Original and photocopies of brochures, programs, announcements, newspaper and
magazine clippings, etc., given in April 1989
Folder 1 (a) Correspondence regarding obtaining collection; (b) one
original photograph of Partch (?probably taken during WTTV studio
broadcast of The Bewitched, 1957?). Removed to Photograph Box
Folder 2 Original concert and recording brochures, programs, note,
announcements, recording subscription brochures for Music by Harry
Partch, Water! Water!, Oedipus, Bewitched (Columbia University),
UCLA lecture-concert, Revelation (1953- )
Folder 3 Newspaper and magazine clippings; including microfiche of San
Francisco Examiner clipp file on Partch (1939-82)
20

The Lauriston C. Marshall
HARRY PARTCH COLLECTION
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. During this time, Partch
lived at Gualala, California (ninety miles north of San Francisco), while
Marshall lived in Berkeley. While administering the Guggenheim Foundation
grants, Marshall established in his office a repository for documentation of
Partch's work. As a precaution, Marshall had many of Partch's compositions and
journals microfilmed, thus preserving several otherwise lost compositions and
journals. Although Partch and Marshall thereafter would no longer live close
to each other and have such a sustained working relationship, they continued
to correspond; and Marshall continued to offer unqualified support to Partch's
musical endeavors: distributing recordings, obtaining materials for musical
instruments, providing technical assistance for recordings, informing friends
of Partch's whereabouts and activities, providing financial support for the
commissioning of The Bewitched, etc.
Lauriston C. Marshall was born in 1902 in Canton, China, where his
parents were Presbyterian missionaries, and died in 1979 at Gualala. Educated
at home and at Chi Fu and Shanghai American schools, he then received an A.B.
from Park College, Parkville, Missouri, in 1923, and a Ph.D. in physics at the
University of California, Berkeley, in 1929. Following his years at Berkeley,
Marshall did postdoctoral research at Princeton University as a National
Research Fellow.
His first position was as a physicist with the U.S. Department of Agriculture,
both in Washington and in La Jolla, California, where he was superintendent
of a field station. From 1937 to 1954, he served as Professor of
Electrical Engineering at the University of California at Berkeley, teaching
courses in particle accelerator design, working as a staff member at the
Radiation Laboratory, and serving as Director of the High Voltage Engineering
Laboratory. During this time, he performed high-voltage research, including
cascade transformers, resonant transformers and related devices at RF
frequencies, and pulse-forming networks. His work also included research on
high-power microwave S-band generators, including the resnatron. He also
participated in the research and construction of the 37", 60", and 184"
cyclotrons.
From 1941 to 1945, he was on leave to the Radiation Laboratory of the
Massachusetts Institute of Technology, where he served as Head of a division
developing radar systems for coastal defense, air search against submarines,
and shipborne installations. He spent part of this time in England, as Head of
the British branch of that laboratory, readying radar for the invasion of
Europe, and installing blind bombing equipment in the 8th Air Force. Following
his years in England, he was sent to the Pacific theater as Chief of
Operations Research Section, United States Armed Forces, Pacific Ocean Areas.
Following World War II, Marshall's research at the University of
California included work on the first proton linear accelerator, planning for
the Bevatron, and development of a working model of the first tandem
accelerator employing Cockcroft Walton networks at radio frequencies.
From 1952 to 1959, Professor Marshall was on leave from Berkeley and
served as Director of Basic Research for the Link-Belt Company in
Indianapolis. Then, in 1959, he and his family moved to Texas, where he was
Professor and Chief of Personnel for the Southwest Center for Advanced
Studies, which soon became the University of Texas at Dallas.
After his retirement in 1967, he served until 1972 as Distinguished
Visiting Research Professor at Southern Illinois University in Carbondale.
During the latter part of his career, his work covered the basic physical
21

properties of materials, experimental biophysics, environmental control as
related to marine and atmospheric balance, research on the origins and
development of Earth's atmosphere and those of other planets, and the origins
of life. In these later years, he thought of himself as a generalist, and
emphasized for his students the inter-relatedness of all disciplines.
He was a member of a number of scientific societies; and he was a Fellow
of the American Physical Society, Sigma Xi, Eta Kappa Nu, Gamma Alpha, and
RESA. He was a longtime member of the Cosmos Club in Washington, the Bohemian
Club, and the Outrigger Club in Honolulu. He shared a Guggenheim Fellowship
with Harry Partch in 1950 and again in 1951, received three citations in
connection with his wartime endeavors, including a Presidential Citation in
1948. He was the author of numerous scientific papers.
After his second retirement in 1972, he settled in Gualala, near the
ranch where he and Harry Partch had worked together many years before. Here he
became active in a variety of community affairs, many of them involving
environmental problems. He managed timber, worked with the schools, did
considerable writing, and established a ham radio emergency network for that
remote, isolated area.
He was married in 1949 to the former Lucie Sewell of Norwell,
Massachusetts, who still lives along the coast in Northern California. His
children include Clarice, a dance/choreographer on the faculty of the Tisch
School of the Arts, NYU, who is Mrs. Thomas Cayler; Katherine, an ICU nurse in
the cardiovascular section at the University of California Hospital in San
Francisco, now Mrs. Robert Suggett; and Lauriston Marshall, Jr., a painter,
graduate of the University of California at Berkeley and Rhode Island School
of Design, and former Fulbright Fellow in London, now living in New York City.
Box 1
Contents
Folder 1 Letters from Harry Partch to Larry and Lucie Marshall, 1949-1970
Folder 2 Letters from Larry Marshall to Harry Partch, 1949-1968 (carbon
copies)
Box 2
Folder 3 Copies and originals of correspondence between Harry Partch and
various persons, 1949-1959
Folder 4 Correspondence between Harry Partch and Ben Johnston, 1949-1964;
carbons and thermofax
Folder 5 Letters to and from Larry Marshall (and various persons)
concerning Harry Partch (1949-1966); originals and copies
Folder 6 Correspondence between Larry Marshall and Henry Allen Moe (and
others) of The John Simon Guggenheim Memorial Foundation
(1950-1963)
Box 3
Folder 7 Miscellaneous materials relating to the application and
administration of Guggenheim and Research Corporation grants
(principally at the University of California, Berkeley), including
issuing of recordings (1949-1953)
Box 4
22

Folder 8 Larry Marshall correspondence regarding distribution of Intrusions
and Dark Brother recordings (1951-1957); originals and copies
Folder 9 Miscellaneous correspondence, receipts, invoices, lists, etc.,
regarding recording, manufacture, and sale of Harry Partch
recordings (1952-57);
Folder 10 Correspondence among Harry Partch, Larry Marshall, Ben Johnston,
Alwin Nikolais, and University of Illinois faculty members
regarding commissioning and production of The Bewitched
(1956-1957); most are photocopies
Box 5
Folder 11 Correspondence between Larry Marshall and Ben Johnston
(1950-1966); originals and photocopies
Folder 12 Correspondence and documents regarding Ben Johnston's Guggenheim
Foundation grant application (1959-1959)
Folder 13 Miscellaneous newspaper and magazine clippings (1951-70)
Folder 14 Partch: “Rough Instrument Specifications”: pencil drawings and
specifications for instruments (1958)
Box 6
Folder 15 Correspondence regarding establishment of the Marshall Collection
Folder 16 Photographs and 35mm color slides of Harry Partch at Gualala
(c1949-1950). Removed to Photograph Box.
Folder 17 Sonata Dementia: Bound, negative-image photostat of full score of
composition by Harry Partch; score consists of title page and 34
pages reproduced on 19 leaves. [copies of this work are also on
Marshall microfilms]
Folder 18 "A Cathode-Ray Tube Harmonic Generator for Musical Tone
Production": Master of Science thesis by William Max Mueller;
research undertaken as part of John Simon Guggenheim Memorial
Foundation grant to Partch and Marshall 1950-1952.
Folder 19 Copies of correspondence between Partch and various persons of the
Guggenheim Foundation (1950); copies
Folder 20 Partch: carbon copy of introduction and tentative film script for
U.S. Highball, Yellow Springs, Ohio, 1957 (29 pp. with red pencil
underlining)
Folder 21 Partch: carbon copy of script for spoken introduction to
Intrusions recording
Folder 22 Miscellaneous brochures and publications
Folder 23 Brochures for Madeline Tourtelot films
Folder 24 Brochures and announcements for Partch recordings
Folder 25 Programs of Partch concerts
23

Box 7 & 8
Tube 1
Duplicate materials
Roll of original drawings for Partch's Genesis of a Music. These
diagrams, which appeared in the 1949 book, were located in 1991 at
Gunnar Johansen's ranch.
Microfilms
These reels contain original microfilms of Partch's musical compositions and
journals; films nos. 1 and 2 were probably made around 1951 at Berkeley,
California; film no. 3 was probably made in Madison, Wis., ca. 1944. The
scores represent early versions (often using a variety of experimental
notations) of several compositions, including one work ("Come Away, Death")
which does not appear in Partch's list of compositions contained in Genesis of
a Music, and which was not later revised and renamed. Partch later believed
the two journals had been lost.
DO NOTE USE THESE FILMS: SERVICE COPIES ARE IN
HARRY PARTCH ARCHIVE MICROFILMS
Microfilm 1 Two journals: End Littoral and Bitter Music
Microfilm 2 Full scores of musical compositions:
Sonata Dementia
Abstraction and Delusion
Scherzo Schizophrenia
Allegro Paranoia
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 3 Full scores (and some instrumental parts) of musical
compositions:
17 Lyrics of Li Po (score dated New York, 1933)
San Francisco: A Setting of the Cries of Two Newsboys
on a Street Corner (1943)
24

Letter from Hobo Pablo (1943)
U. S. Highball (part for Chromelodeon and voices)
U. S. Highball (full score: 1943 version for Adapted
Guitar, voices, Chromelodeon, and Kithara) 1944
Dark Brother (1943)
December, 1942--Three Settings for Guitar (Adapted)
and Voice
Come Away, Death (Shakespeare's 'Twelfth Night')
The Heron (Tsuryuki)
The Rose (Ella Young)
Two Settings from Finnegan's Wake (1944)
Isobel
Annah the Allmaziful
U.S. Highball (part for Kithara)
Two Psalms (1943)
The Lord is My Shepherd
By the Rivers of Babylon
Barstow (1943)
Y. D. Fantasy (1944)
NOTE: xerox copy-flo printouts of these pieces have been made and are
available in Special Collections. Duplicate films have been made: see Harry
Partch Archive, microfilms 1-3.
Phonograph Recordings (Non-commercial)
NOTE: tape dubs of all these discs are available for listening in Special
Collections, see the duplicate cassette series index, or see the M3.1/P37U5
series of tapes.
- DO NOT PLAY THESE DISKS; DUPLICATE TAPES HAVE BEEN MADE FOR LISTENING -
Recording 1 Two sets of masters for Gate 5 issue of Plectra and
Percussion Dances
Recording 2 Set of privately issued “Partch Compositions” ("Discourse
and Intrusions") 5 discs.
Recording 3 Set of test pressings for privately released "Discourse and
Intrusions", issued by Marshall in 1951.
Recording 4 Set of four one-sided discs (dated 2/7/51); unidentified.
Recording 5 Ten Lyrics by Li Po; two red plastic recordings
disc a & b issued by Warren E. Gilson, Madison, Wisc., 1947
An Encounter in the Field (6 poems, no. 3)
On Hearing the Flute (6 poems, no. 4)
The Intruder (6 poems, no. 5)
I Am a Peach Tree (6 poems, no. 6)
25

With the Man of Leisure (11 poems, no. 10)
A Midnight Farewell (6 poems, no. 1)
Before the Cask of Wine (6 poems, no. 2)
A Dream (11 poems, no. 1)
On the Ship of Spice Wood (11 poems, no. 9)
By the Great Wall (11 poems, no. 11)
The following are steel-based acetate recordings apparently made in Madison,
Wisc., c1945. Transcribed are notations on disc labels.
Recording 6 15. U.S. Highball #6/ 16. U.S. Highball #7
Recording 7 Barstow #1 / [Barstow] #2
Recording 8 Li Po Dream / Li Po Lyrics
Recording 9 Barstow I / 2 Barsto[w]
Recording 10 6. Y.D. Fantasy / Y.D. Fantasy BAD
disc a & b 3. Isobel / 4. [Annah the] Allmaziful
Recording 11 Unlabeled disc (two bands on each side) ?blank
Recording 12 8. Dark Brother #2 / 7. Dark Brother #1
Recording 13 16. U.S. Highball (Original) / 6. Y.D. Fantasy (Original)
Recording 14 15. U.S. Highball (original) / Bad
Recording 15 13. U.S. Highball (Original) / 14. U.S. Highball (original)
Recording 16 11. U.S. Highball (original) / 12. U.S. Highball (original)
Recording 17 9. San Francisco (Original) / 10. U.S. Highball (original)
Recording 18 3. Isobel (origianl) / 4. Annah the Allmaziful (original)
Recording 19 1. Barstow (original) / 2. Barstow (original)
26

Tape Recordings
NOTE: Backup cassettes and 10" reel-to-reel duplicates of this first group of
tapes have been made for listening. See the Archive's Duplicate Cassette
series, and the series of 10" tapes in Special Collections (listed in
Appendix). Additional information about the provenance of each tape may be
found on the original boxes.
Tape 1 Recording-session takes for Windsong, Evanston, 1958 (5"/15 ips)
Tape 2 (?) Recording-session takes for Windsong; at fast or slow speed
for over-dubbing (5" reel)
Tape 3 Interview with Madeline Tourtelot and Harry Partch on WTTV-TV,
Chicago, prior to screening of the film Windsong. March 19, l958
(5"/7-1/2 ips)
Tape 4 The Bewitched: Prologue (incomplete) (5"/7-1/2 ips)
Tape 5 Lecture by Harry Partch prior to live performance
2 reels of Plectra and Percussion Dances at International House, Berkeley,
November 19, 1953. 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"/7-1/2
ips)
Tape 6 Lecture-demonstration: "A Soul Tormented by
2 reels Contemporary Music Looks for a Humanizing Alchemy" presented at
the Auditorium, University of Illinois, on Sunday, March 24, 1957,
two days before the premiere of The Bewitched. Includes performed
excerpts from The Bewitched. (7"/7-1/2 ips)
Tape 7 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"/7-1/2 ips)
Tape 8 On one track are some performances of Partch's music; the other
track contains legal speeches. (7"/15 ips)
Tape 9 (1) Introduction by Harry Partch to the recorded version of
Oedipus, broadcast over KPFA-FM, San Francisco, c1954 (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"/7-1/2
ips)
Tape 10 Dark Brother (recorded from an original acetate master). (7"/7
1/2-ips)
Tape 11 Even Wild Horses (from Plectra and Percussion
2 reels Dances); appears to be recorded from a master tape rather than a
disc. (7"/7-1/2 ips)
Tape 12 Sonata Dementia; 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"/7-1/2 ips)
Tape 13 The Bewitched (copy from master tape rather than
27

4 reels disc) (7"/7-1/2 ips)
Tape 14 Recording-session takes, including The Letter. (7"/7-1/2 ips)
Tape 15 The Waterfall and The Crane; and other unidentified rehearsal
passages (7"/7-1/2 ips)
Tape 16 "Discourse and Intrusions": "High quality direct copy from
2 reels original Paramount tape" (7"/15 ips)
Tape 17 On side 1, one of the tracks contains unidentified marimba music
(7"/7-1/2)
Tape 18 Li Po Poems, taped from 78 rpm recordings; label describes as
"Master" (7"/7-1/2 ips)
Tape 19 Harry Partch: Introduction to Oedipus prior to broadcast of new
version over KPFA radio (c. 1954); then begins Oedipus with "alas,
alas,...' (7"/7-1/2 ips)
Tape 20 Excerpts from Li Po, Barstow, U.S. Highball, The Letter,
Demonstration talk prior to Intrusions, and Scale Studies. Box
states "Excerpts for St. L. lecture" (7"/7-1/2 ips) Presumably for
lecture of 24 April 1962.
Tape 21 "Discourse and Intrusions": box describes as "Master"; 7 1/2 ips
copy from original Paramount tape (7"/7-1/2 ips)
Tape 22 "Discourse and Intrusions": box describes as "Master"; 15ips copy
from original Paramount tape (7"/15 ips)
Tape 23 Li Po Poems for voice and adapted viola; copied from two 78 rpm
records issued by Warren E. Gilson, Madison, Wisc., 1946. (7"/7-
1/2 ips)
Tape 24 Windsong recording session takes, Evanston 1958; reel 1;
originally recorded on Berlant (7"/7-1/2 ips)
Tape 25 Windsong recording session takes; Evanston, 1958; reel 2;
originally recorded on Berlant (7"/7-1/2 ips)
Tape 26 Windsong recording session takes; Evanston, 1958; reel 3;
originally recorded on Berlant (7"/7-1/2 ips)
Tape 27 Windsong recording session takes; Evanston, 1958; reel 4;
originally recorded on Berlant; crossed out on label: "Doc
rejects"; (7"/7-1/2 ips)
Tape 28 Oedipus; reel no. V; from mid-scene 15 to end; high level; (7"/15
ips)
Tape 29 Oedipus; reel no. IV, from mid-scene 15 to end; high level; (7"/15
ips)
Tape 30 Oedipus; reel no. III; from mid-scene 15 to end; compromise
(7"/15ips)
Tape 31 Oedipus; reel no. II, from mid-scene 15 to end; moderate;
(7"/15ips)
28

Tape 32 U.S. Highball trials; rehearsal passages; including passages
beginning "There she jerks" and "You exclamation mark" (7"/7-1/2
ips)
Tape 33 U.S. Highball trials; rehearsal passages; passages include
"Leaving San Francisco," "Hey don't sleep," and "They've gone."
(7"/7-1/2 ips)
Tape 34 The Bewitched fragments; box marked "Sausalito" (7"/15 ips)(??
possible rehearsals of first version of The Bewitched before
rewritten for U. of Illinois production)
Tape 35 U.S. Highball trials; rehearsal passages from end of U.S. Highball
(7"/15 ips)
Tape 36 "Discourse and Intrusions"; 5-4-51; apparently
reels a & b incomplete: tape ran out before end of "Soldiers" (7"/15 ips)
Tape 37 U.S. Highball trials; rehearsal passages; (7"/15ips)
Tape 38 Windsong fragments (probably takes from recording session (7"/7-
1/2 ips)
Tape 39 Discourse and Intrusions (incomplete) (7"/15ips)
Tape 40 Windsong recording session takes; reel 4 and 5; Windsong takes on
Berlant; Evanston, 1958; (7"/7-1/2 ips)
The following group of tapes are all 10" reels; they have not been duplicated
onto cassettes or backup reels. The original cartons for the tapes have been
replaced, and (in most cases) the information transcribed (by, presumably, a
student library worker) onto slips of paper that are contained in the new
boxes. The contents of the tapes were confirmed in the summer of 1987, and
this information (not always correct about dates or source of tape) is given
on typed sheets also in the boxes. The most relevant identifying information
is included in this checklist.
Tape 41 Plectra and Percussion Dances, reel I, copy 2; Castor and Pollux
(2/20/53) and Ring Around the Moon (6/29/53); 15ips.
Tape 42 Plectra and Percussion Dances, reel II, copy 2; Even Wild Horses
(2/6/53?); 15ips.
Tape 43 Plectra and Percussion Dances, reel I; Castor and Pollux (2/20/53)
and Ring Around the Moon (6/20/53); 15 ips; copy 1; engineered by
L.C.M.
Tape 44 Plectra and Percussion Dances, reel II; Even Wild Horses; 15ips;
copy 1; Eng. L.C.M.
Tape 45 U.S. Highball fragments; recording session takes 1958?; Partch's
voice heard on takes; 15 ips.
Tape 46 A side: unidentified music, not Partch
B side: excerpts from Barstow, The Letter, Ulysses at the Edge;
Partch directing; The Letter interrupted by short bursts of
backward music; 15ips.
Tape 47 Oedipus fragments; recording session takes, Partch directing; 15
ips.
29

Tape 48 Oedipus (1954 version), reel 1; scenes 1-4; engineered by Partch;
from original; 15 ips.
Tape 49 Oedipus (1954 version), reel 2; scenes 5-9; engineered by Partch;
from original; 15 ips.
Tape 50 Oedipus (1954 version), reel 3; scenes 10-13; engineered by
Partch; from original; 15 ips
Tape 51 Oedipus (1954 version), reel 4; scenes 14-18; engineered by
L.C.M.; some overload on peaks; 15ips.
Tape 52 The Bewitched, reel 2; scenes 1-3 (prologue missing); 15 ips
Tape 53 The Bewitched, reel 3; scenes 4-7, 15 ips.
Tape 54 The Bewitched, reel 4, scenes 8-1O and epilogue; 15 ips.
Tape 55 The Bewitched fragments; short excerpts appearing in backward
succession from scene 6 to Prologue; ?recording session takes; 15
ips
Tape 56 The Bewitched fragments; short excerpts appearing in backward
succession from scene 10 to scene 7; ?recording session takes; 15
ips.
Tape 57 Plectra and Percussion Dances (complete); 7-1/2 ips.
Tape 58 Plectra and Percussion Dances fragments; tape 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; 15
ips.
Tape 59 Oedipus (1954 version); fragments; some appear from recording
session, other from recording; Partch directing; 15 ips.
Tape 60 Oedipus (1954 version); fragments apparently from recording
session; begins with Tiresias scene; 15 ips
Tape 61 The Bewitched, reel 1; Prologue and scene 1; 15 ips.
Tape 62 The Bewitched, reel 2, scenes 2-6; 15 ips.
Tape 63 The Bewitched, reel 3, scenes 7-10 and Epilogue; 15 ips
Tape 64 Oedipus (1954 version); reel 1, scenes 1-4; Oedipus original; 15
ips.
Tape 65 Oedipus (1954 version); reel 2, scenes 5-9; Oedipus original; 15
ips
Tape 66 Oedipus (1954 version); reel 3, scenes 10-13; original; 15 ips.
Tape 67 Oedipus (1954 version), reel 4, scenes 14-18; Oedipus original; 15
ips; "Please return to E.D. Nunn, Saukville, Wisconsin"
Tape 68 Oedipus (1954 version), reel 4, scenes 14-18; Oedipus copy; "Mon.
into unbalanced bridge"; 15 ips
30

Tape 69 Oedipus (1954 version), reel 4, scenes 14-18; Oedipus (copy)
engineered by L.C.M.; 15 ips
Tape 70 Even Wild Horses (excerpts): Act 1, scene 1; Act 2, scene 2; Act 3
scene 2; and Oedipus, 1954 version (excerpts): scenes 3, 15, 16,
17, 18; excerpts spliced into 7 sections; 15 ips
Tape 71 The Bewitched (excerpts); spliced into two sections: Prologue to
p. 42 of score; and Epilogue and scene 10; 15 ips
Tape 72 The Bewitched (excerpts): spliced into two sections: Prologue to
p. 42 of score; and Epilogue and scene 10; 15 ips.
31

The Danlee Mitchell
HARRY PARTCH COLLECTION
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.
Box 1
Articles and Reviews (1960s): Clippings of articles and reviews regarding
Partch; grouped by decade only
Articles and Reviews (1970s): Clippings of articles and reviews regarding
Partch; grouped by decade only
Articles and Reviews (1980s): Clippings of articles and reviews regarding
Partch; grouped by decade only
Articles and Reviews (1957, 1959, 1960-63): Clippings of articles and reviews
regarding Partch
Box 2
Articles and Reviews (1964-75): Clippings of articles and reviews regarding
Partch (12 folders)
Box 3
Arts in Society: Two issues, one with Partch essay: vol. 1 no. 2; vol. 2 no.3
BMI: Booklets, brochures regarding Partch
The Bewitched (1975): Publicity, programs, for performances at UCSD and UCLA
in l975
CRI: copies of promotional material
Capab Ballet Co.: Letters requesting permission to use music (l970-71)
Champaign Studio: Photographs of interior of Partch's studio on Springfield
Street, Champaign, Ill.
Chazen, Judith K., and Cathy McIntyre: Class paper on Partch (SDSU, l972)
Correspondence - miscellaneous: Miscellaneous letter to and from Mitchell,
Emil Richards, Linda Schell, Alan Pluth, Oliver Evans, Partch, and Stephen
Pouliot. (1958-73)
Box 4
D'Amico, Margarita: Letter and copy of article she wrote about Partch (1973)
Delusion of the Fury (reviews): Reviews of production at UCLA (1969)
Delusion of the Fury (score): Title page for score on vellum master;
typescript and Partch's hand lettering
Delusion of the Fury (UCLA): Program, publicity, correspondence regarding
l969 production (1968-69)
32

The Dreamer That Remains: Booklet, program, announcements, etc., for film
screening
Film Catalogues: Catalogue listings for rental of Partch films
Film Screenings: Brochures for various screenings/presentations of Partch
films
Genesis of a Music: Correspondence with various firms regarding new edition
or reprint (1971)
Harry Partch Foundation: Correspondence between foundation and fundraising
firm Moore, Walter, Trenbeth Assoc. (l974-75)
Box 5
International Music Congress (l968): Program for meeting, which included
performance at Whitney Museum
Isabelle, Eugene: Paper or lecture text regarding Partch (?l963)
Japanese magazine: Unidentified Japanese magazine with Partch annotation
"April '66? Tokyo"
McCormick, Robert: text of lecture on Partch (1971 or 72)
Miscellaneous items: several items, including an unidentified letter
Mitchell, Danlee (1962-65): Letters from Danlee Mitchell to Partch (about half
in photocopy, half originals)
Music Equipment Catalogue: catalog
Nealie Sullivan Award (1966): Brochure for film, slide, lecture, and
instrument exhibition at San Francisco Art Institute
New World Records: Rejected contract (1978)
Nin, Anais: Program note for film "Anais Nin Observed: A Film Portrait of a
Woman as an Artist" containing mention of Partch
Obituaries: Copies of Partch obituaries from magazines and newspapers (1974)
Partch, Harry (1958-71): Letters from Partch to Danlee Mitchell (original
letters and postcards; 70 items)
Revelation in the Courthouse Park: Program, announcement, newspaper clippings
regarding production at Illinois (1961)
Box 6
Reviews: reviews of various performances or recordings
Smithsonian Institution: Flyer for Touring Performance Service (that was to
have contained Partch program)
UCLA - Lecture-Concert (l966): Announcement, programs, etc. for lectureconcert
UCSD Concert (l968): Poster and program of concert at UCSD May 11 and 12,
l968
33

U.S. Highball (l976): Program for l976 performance at Los Angeles County
Museum of Art
Ulysses: Programs of performances at UCSD (1970)
United States Information Agency: 1973 letter regarding photographs
University of Oaklahoma (1956): Poster announcing Partch lecture, April 30,
1956
University of Hawaii: Program for Festival of the Arts of this Century (1971)
Water! Water!: Newspaper clippings regarding University of Illinois
production (1962)
Whitney Museum (l968): Programs and publicity material for performances at
Whitney Museum
34

The Stephen Pouliot
HARRY PARTCH COLLECTION
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.
Box 1
Folder 1 Drafts and typescript transcriptions of dialogue for The Dreamer
That Remains; a journal about a trip with Partch; and biographical
information about Partch
Folder 2 Various editing outlines and editing notes; MS, typescripts, and
photocopies relating to The Dreamer That Remains. Including:
?Pouliot research notes and memos, diary memo written on a day
with Partch, partial transcript of Pouliot interview with Partch
about film.
Folder 3 Writings about Partch by Pouliot and others:
(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.
Folder 4 Correspondence among Betty Freeman, Stephen Pouliot, Danlee
Mitchell, Partch, and others 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).
Folder 5 Transcripts of "The Letter": (1 & 2) 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"
Folder 6 Black and white negatives taken during rehearsals of The Dreamer
That Remains. Removed to Photograph Box
Folder 7 Partch's initial, "very tentative verbal outline" of The Dreamer
That Remains. 6-page typescript (carbon copy), dated 27 May,
35

1972.
Folder 8 Material relating to production and shooting of The Dreamer That
Remains
(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.
Folder 9 Eight sets of camera/editing logs of scenes from The Dreamer.
Typescript.
Folder 10 Misc. outlines, lists, timetables, schedules for shooting of The
Dreamer. Photocopies and typescripts
Box 2
Folder 11 Treatments/outlines of film portrait, "Harry Partch: The Dreamer
That Remains"
(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,
1722; typescript, cover + 7 pages.
36

(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.
Folder 12 Misc. editing notes for film; typescripts, carbons, MS.
Folder 13 Copies of three publications: 1/2, The Reader, and American
Cinematographer.
Box 3
Folder 14 Prepublication copy of Enclosure 3: Harry Partch (later published
by Minnesota Composers Alliance).
Folder 15 Original autograph pencil score for The Dreamer That Remains;
outside cover page labeled "For Stephen"; with special dedication
to Pouliot in india ink on verso of outside cover page. Contents:
one page of timings; score paginated 1-46, plus four-leaf bifolium
of additional material. (12-1/2" x 9-1/2")
Boxes 4 & 5
37

Box 6
In each box a Mexican shirt, recognizable as worn by Partch in
photographs and in The Dreamer That Remains.
Three blue-line scores (of The Dreamer That Remains and The
Letter) prepared by Partch for Pouliot's use in filming The
Dreamer that Remains (see the descriptions in McGeary, The Music
of Harry Partch). Removed to Musical Scores.
(1) The Letter, with three photographs on title page, special ink
dedication on inside front cover; with Partch annotations
(2) The Dreamer That Remains. c. 1. (without Partch’s final
revisions; Stephen Pouliot’s workcopyy with Partch annotations.
(3) The Dreamer That Remains. c. 2 (with Partch’s final
revisions). No annotations.
38

The Peter Yates
HARRY PARTCH COLLECTION
Xerox copies of complete material in Peter Yates Collection, University of
California, San Diego, Central University Library, Mandeville Department of
Special Collection
- - DO NOT XEROX WITHOUT PERMISSION OF OWNER OF ORIGINAL MATERIAL - - -
Folder 1 Correspondence about obtaining collection
Folder 2 correspondence between Harry Partch and Peter Yates (1952-1972)
(photocopies)
Folder 3 correspondence among various: (1954-1972)
Folder 4 mimeographed scenario for The Bewitched (2 pp.) and libretto for
Water! Water! (62 pp.)
Folder 5 misc. programs, brochures, and newspaper or magazine clippings
39

II. HARRY PARTCH ESTATE ARCHIVE
This series consists of materials that survived as part of Partch's estate.
They were given to the archive beginning on Dec. 29, 1992, by Danlee Mitchell.
Other materials, formerly transferred to Kenneth Gaburo, have subsequently
been published in facsimile as part of the Enclosures series.
40

Series: Manuscript Scores
This series consists of a portion of those autograph scores, blue-line copies,
and pencil drafts that survived as part of Partch's estate. They were given
to the archive beginning on Dec. 29, 1992, by Danlee Mitchell. The
designation "( = HPCat )" indicates those scores that are the final score for
a version of a composition, and that are catalogued and described in The Music
of Harry Partch: A Descriptive Bibliography.
MS Score 1
U.S. Highball (second version; 1943)
MS Score 2
Y.D Fantasy
Ink-on-paper score (and chromelodeon part) of U.S. Highball (= HPCat
35B). Score with numerous pencil additions, cuts, comments, paste-overs,
etc. Score on 70 pages; chromelodeon part also with additions, cuts ,
etc.,) on 45 pages.
Full score and parts for Y. D. Fantasy (1944) ( = HPCat 40) plus 2nd
flute part to Two Settings from "Finnegan's Wake". Ink score with
various pencil and ink corrections and revisions. Presumably the
performing material used for the 1944 Carnegie Hall concert. 22pp. in
ink and pencil.
MS Score 3
Polyphonic Recidivism on a Japanese Theme
MS Score 4
Two Psalms
Full score for Polyphonic Recidivism on a Japanese Theme ( = HPCat 21).
Ink score. 3pp.
Two Psalms (1943): (1) full score to The Lord Is My Shepherd (= HPCat
16B); (2) full score and two (of four) parts to By the Rivers of Babylon
( = HPCat 5B); plus fragment in pencil of Harmonic Canon part to U.S.
Highball. 13pp; score in ink and pencil.
MS Score 5
Two Settings from Joyce's Finnegans Wake
Full score and parts to Two Settings from "Finnegans Wake" (1944) ( =
HPCat 31). 17pp. in ink.
41

MS Score 6
San Francisco and Letter from Hobo Pablo (1943)
Original ink-on-paper score, with later pencil additions made in 1955
for enlarged instrumentation. 6 leaves. San Francisco ( = HPCat 26A);
Letter ( = HPCat 15A)
MS Score 7
Dark Brother
Original ink-on-paper score (= HPCat 8B) with original ink-on-paper
parts for voice, viola, and kithara (1943); with pencil addition for
Bass Marimba part. 8 leaves of parts; score on 13 pages.
MS Score 8
U. S. Highball (first version)
Full score of first version of U.S. Highball (Feb. - March 1943) ( =
HPCat 35A). 64pp in pencil.
MS Score 9
14 Intrusions
Complete ink-on-paper manuscript score as described in HPCat 13, version
A. 56 pages. Also separately: Bass Marimba parts for Soldier, War,
Another War; Cloud-Chamber Music; and Lover; (three leaves); Soprano
part for Lover (one leaf); Guitar II part for Vanity (one leaf); Guitar
III part for Cloud-Chamber Music; and Soldier, War, Another War (two
leaves); Kithara and Deer Hooves Rattle part for Cloud-Chamber Music
(one leaf); Diamond Marimba & Bowls part for Cloud-Chamber Music (three
pages on two leaves)
MS Score 10
Poems by Li Po
Manuscript score of Poems by Li Po (= HPCat = 20E) (in 3 fascicles); and
pencil drafts for Even Wild Horses, Act 3, Scene 2 (37 pp).
Fascicle 1: (a) p. [1] contains a line for Bowls solo from Even
Wild Horses pp. 2-17: Li Po Poems, version E, nos. 1 - 9 (ink on paper)
then (b) pp. 9-14, [15] pencil draft for Even Wild Horses, beginning at
"Let Us Contemplate" to end. Colophon: "Curtain | Completed Lisser Hall,
Mills College | Aug. 31, 1952.
Fascicle 2: A Dream (= HP cat. 20, version E [ same as version B]
); original india-ink-on paper score, notated all in ratios. Originally
10 pages (some pasted back-to-back), now missing pages 3-6 (available on
microfilm in Marshall Collection); on p. [10] is pencil transcription by
HP from Christopher Columbus by Filson Young.
Fascicle 3: pp. 18-37 Li Po Poems, 11 - 17 (= HP cat. 20, version
E); ink on paper.
42

MS Score 11
"Mock Turtle Song"
Pencil draft for full score of "Mock Turtle Song" from Two Settings from
Lewis Carroll (1954) ( = HPCat 32/1). 15pp. in pencil (torn from 8 1/2 x
7 spiral-bound music notebook).
MS Score 12
Potion Scene (Pencil draft)
16 pages of draft in black and red pencil; numerous performance and
interpretive directions; inscribed: "Rewritten at Gate 5, - July 10,
1955"; draft for score of second version (Cat. no. 22, version b)
MS Score 13
U.S. Highball
Pencil draft of full score of enlarged instrumentation for U.S. Highball
(1955) (HPCat 35C); plus three sheets of instrument tunings. 50 pp. in
pencil.
MS Score 14
Ulysses Departs at the Edge of the World
MS Score 15
Windsong
Two pencil drafts:
a) Pencil draft of score of original, first version (Cat. no. 34,
version a); with numerous interpretive notes, etc.; Inscribed "H.P. Gate
5. July 20, 1955" (12 pages)
b) pencil parts for Ulysses as recorded in Evanston, IL, in 1958, for
alto and Baritone sax. Two parts
i) on four pages: nineteen numbered, braced systems for
Chromelodeon, alto and baritone sax, and diamond marimba parts.
ii) on two pages (numbered 4 & 5): braced systems numbered 18 -
33, for diamond marimba and boo parts.
(Information provided by Danlee Mitchell, 12-31-93)
Spiral-bound music notebook containing pencil drafts for musical scenes;
each scene with title, cues to film, instrument tunings, indications of
performers, tape speed, etc.; from front (inscribed "percussion
beginning here") pages numbered 32-47 [including inside front cover];
from back (inscribed "strings beginning here") [not including inside
cover pages numbered 1-31. In all 47 pages of draft score.
43

MS Score 16
Bless This Home
Pencil sketch of full score for Bless This Home (1961). 3pp in pencil.
MS Score 17
Water! Water!
Pencil draft of full score for Water! Water! (1961). 117pp.
MS Score 18
And on the Seventh Day Petals Fell in Petaluma
Pencil draft of full score of And on the Seventh Day Petals Fell in
Petaluma (1964). 40 pp. in pencil.
MS Score 19
Revelation in the Courthouse Square
Pencil draft of full score for Revelation in the Courthouse Square;
misc. pencil voice parts; pencil sketch of "Deep Inside"; and original
pencil manuscript of "Rotate the Body". approx. 250 leaves for full
score, plus additional ca. 35 leaves.
Manuscript Score 20
Delusion of the Fury
MS Score 30
Oedipus
MS Score 31
Oedipus
Pencil draft of full score of Delusion of the Fury (1966) (HPCAt 10);
plus related 20pp of sketches. 188pp. in pencil.
Blue-line copy of full score of second version of Oedipus with numerous
pencil and ink corrections and typed paste-overs (especially of spoken
texts). Altered score presumably similar to/prepatory to final (third)
version of Oedipus. Wire bound 131pp.
Blue-line copy of full score of second version of Oedipus with Partch's
pencil corrections, additions, revisions, type-script paste-overs
(carbon copy), etc., prepatory to preparing final (third) version of
composition. Plastic spiral bound, 131 pages plus five leaves of Jocasta
part and leaf marked "Pre-Introduction". Pencil annotations suggest this
copy was used for performance and recording purposes.
44

MS Score 32
Dreamer That Remains
Blue-line copy of first version of score with Partch's pencil
annotations, corrections and revisions preliminary to the second (and
final) version of the score (labeled by Partch "Last Dreamer" [see
following score]). Cover and 37 pages.
MS Score 33
Dreamer That Remains
Blue-line score (with systems numbered in red); score incorporates
revisions as called for on previous score. Partch's label "Last
Dreamer". Cover and 37 pages.
MS Score 34
Delusion of the Fury
MS Score 35
Windsong
Blue-line score made from original set of vellum masters; with many
annotations, corrections, and additions made by Partch in pencil or as
paste-overs; according to Danlee Mitchell, these were not transferred to
the set of vellum masters. Comments provided by Danlee Mitchell about
this score: “This score is one of three sets of the complete score with
covers made by Betty Richards [wife of Emil Richards] in Los Angeles,
shortly after vellum score was finished, for Harry’s personal use. I
have the second copy, which was the score I used to conduct the work in
1969 at UCLA, and I am keeping it.” Pasted onto inside front cover
"Corrections and additions to data on instruments". Cover plus 250
pages. Systems numbered in red-orange pencil.
Blue-line copy of score for Windsong, with Partch's pencil notes for
later instrumental 'concert version' [Daphne of the Dunes] 19 pages.
MS Score 36
Ulysses - First Version
Blue-line copy of score; except for Partch's MS title on first page, no
MS additions. 11 pages. Also: Bb trumpet part prepared by Jack Logan,
1974.
MS Score 37
Ulysses - Second Version
Blue-line copy of score, title page and 7 pages. No MS additions.
45

MS Score 38
Ulysses - Third Version
Two blue-line copies of score; second copy with system numbers in red
pencil) with parts for Eb Baritone Sax and Eb alto sax. No other MS
additions. 9 pages (for each score) and two parts in Partch MS
comprising 6 pages. Also: parts (4 pages) for Eb baritone sax prepared
by Jack Logan, 1974.
MS Score 39
Eleven Intrusions
Blue-line copy of score with numerous pencil or ink markings,
annotations, revisions, corrections, especially for nos. 1-2 (Two
Studies). 22 pages.
46

Series: numbered folders
Materials given by Danlee Mitchell beginnng on December 25, 1992.
Folder 1
U.S. Highball
Draft librettos and pocket notebook. Very important materials
documenting origins of one of Partch's most important and characteristic
compositions.
1. 7-page typed script of U.S. Highball, with pencil
revisions (ca. 1942)
2. 7-page typed script, retyped version of above with
revisions incorporated (ca. 1942)
3. 4 pages of compositions sketches (1942)
4. 4 x 5-1/2 pocket memorandum book containing notations
and ideas for U.S. Highball. (1941)
Folder 2
U.S. Highball
Typescript introductions and script for film version of U.S. Highball:
(1957).
1. black and red carbon typescript of introduction and
script (29pp)
2. black carbon typescript of introduction marked "new" in
pencil (10pp)
3. black carbon typescript outline of script (by shot)
(12pp); marked in pencil "superseded"
Folder 3
And on the Seventh Day Petals Fell in Petaluma
Preliminary notes, outlines of verses, instrument tunings, and
scenarios/titles of movements (typescript, pencil, and ink) (ca. 1962).
30 leaves
Folder 4
Revelation in the Courthouse Square
Preliminary notes and draft scenarios. 37 leaves (typescripts, carbons,
pencil sketches, pencil drafts, instrument tunings, etc.) (ca. 1960)
Folder 6
Correspondence
Roll of microfilm (plus paper print-outs) of Partch correspondence in
years 1952-59 (mostly from Mill Valley, Sausalito, Calif., and
Champaign, Ill.); filmed at University of Illinois April 18, 1960;
approx. 42 pages
Folder 7
Revelation in the Courthouse Square
47

Typescript of Revelation in the Courthouse Park; versos of pages seem to
have directions for film shots (perhaps made in conjunction with
Madeline Tourtelot film of the production?); approx 61pp. in red and
black typescript (composed of top and carbon copies including
paste-overs, MS corrections, etc.)
Folder 8
Delusion of the Fury
1. Typed script (ca 1964): one over-size typed carbon of first page,
and full script on 16 xeroxed pages.
2. Typed synopsis (xerox from typescript for ch. 14 for Genesis)
3. Editing notes (timings) for recording of Delusion (22 leaves in
xerox, pencil, or typescript)
Folder 9
Water! Water!
Mimeograph script of Water! Water! (1961). Apparently Partch's copy of
the duplicated script made for use by participants in the production
(numbered #81); corrected by paste-overs including one loose newly-typed
sheet (containing alternate dialog between Phoebus and the Producer in
Second Prologue); 61pp. plus one typescript sheet.
Folder 10
Rotate the Body
Pencil scripts/outlines (with timings and reference to Revelation score)
for Rotate the Body in All Its Planes--Ballad for Gymnasts (1961). 4pp.
in pencil
Folder 14
Da Capo Correspondence
Correspondence with Da Capo press regarding publication of second
edition of Genesis of a Music (covering years 1968-1974). Carbons of
Partch letters; originals from Da Capo, Plenum, et al.; approx. 200pp.
Folder 16
Genesis of a Music/Preface
Four typed versions/drafts (or portions thereof) of Preface to second
edition of Genesis of a Music; approx. 87pp. (most typescript; some in
xerox and pencil; all with MS corrections, etc.); drafts contain many
deleted passages.
48

Folders 17a, b, c, d
Genesis of a Music: Chapters 12-14 and appendices.
Typed drafts (with pencil corrections) of chapters 12 (17a), 13 (17b),
14 (17c) & appendices (17d) for second edition of Genesis of a Music
(drafts written 1969); approx. 154 typescript pages.
Folder 19
Genesis of a Music/illustrations
Folder of photocopies of illustrations/figures by Erv Wilson for second
edition of Genesis of a Music; several letters from Wilson included;
approx. 44 leaves; most with Partch annotations or captions added.
49

Series: un-numbered folders
This material consists of a large portion of Partch's personal files that were
left to Danlee Mitchell as Partch's heir and executor and were given to the
University of Illinois Music Library beginning on Feb. 8, 1991.
Most of the folders reflect Partch's own filing. Some have been given fuller
or more descriptive titles. For ease of identification, some important
individual items have been transferred to more appropriate folders or given
individual folders. (The original folders with Partch's handwritten labels
have been preserved.)
Box 1
Arnautoff, Phillip: Letters from (c. 1966-69)
Awards: Letters announcing awards; several HP carbons and lists
BBC: Corr. between BBC and HP (c. 1967-70); originals and carbon copies
BMI: Corr. between BMI and HP 1953-74; incl. letters from Carl Haverlin and
Oliver Daniel; carbons from Gerd Stern and HP. A very important coll. of
material for biographical data
Barzun, Jacques: Corr. between Jacques Barzun and Partch (1954-62); signed
letters from Barzun; carbons from HP
The Bewitched - Washington University: Documents relating mostly to the 1957
production of The Bewitched at Washington University.
The Bewitched - Programs: Programs of 1959 productions at the University of
Illinois and Columbia University
Box 2
CBS Records: Many important letters from John McClure; carbons, lists, etc.
from Partch (c. 1966-72)
CBS Records - Delusion of the Fury Bonus Record: Includes about 4 draft
scripts for Partch talk for bonus record; plus other correspondence (19971)
CRI: Correspondence (mostly from CRI); timings for Petals; some Partch
carbons (1960-74)
Champaign Studio: Two black and white photos of Partch studio on Springfield
Ave., Champaign. Removed to Photograph box.
CRI - The Bewitched: Documents regarding liner notes for CRI release of The
Bewitched (1973)
Cinema 16: Letters regarding Kenneth Anger 'unauthorized' use of music for
film "Inauguration of the Pleasure Dome" (1954); letters re: rentals of
Madeline Tourtelot films (1960-65)
Box 3
Columbia University - The Bewitched: documentation regarding Columbia Univ.
production of The Bewitched; Partch carbons; and letters from Douglas Moore
(1953-62)
50

Correspondence - Articles and reviews: Misc. correspondence mostly with
critics and editors regarding articles and reviews; some HP carbons; many
recognizable critics, columnists, etc.
Correspondence - Broadcasts: Letters from radio stations (19553-61)
Correspondence - Film, TV: Documents regarding projected film projects, cue
sheets (for films); includes prospectus for film of The Bewitched; permissions
(1957-72)
Correspondence - Lectures: Correspondence regarding lecture invitations
(1952-63)
Correspondence - Performances: Letters of inquiry regarding performances
(1970-73)
Correspondence - Permission: Letters to and from HP, regarding permissions
(1962-73)
Current Biography: Correspondence regarding Partch's biographical entry
(1963)
Da Capo Press: Correspondence with, regarding new edition of Genesis of a
Music (1971-72)
Box 4
Delusion of the Fury - Scenario: Early scenario, originally titled "Cry from
Another Darkness" (dated Dec. 30, 1964) (7 pp.)
Dreamer that Remains: Flyers; numerous drafts (carbon and MS) of HP outline;
including letters to and from Betty Freeman, Stephen Pouliot; very important
collection that documents many aspects of the film (1972-73)
Dutton, E.P.: HP requests permission to use translation of Li Po poems (1962)
Earls, Paul: Letters from (1964)
Edmunds, John: Letters from; two HP carbons (1959-61)
Ellsworth, Ray: Letters from; none from HP (1956-65)
Estey Organ: Regarding reed organs (1960)
Evans, Gil: Exchange of letters (1961-62)
Freeman, Betty: Correspondence from Betty Freeman, mostly to Partch; several
from Partch and Danlee Mitchell; others to Danlee and other persons (1964-74)
Fromm Foundation: Letters from Paul Fromm (1956-72)
Fulbright Commission: Regarding application for fellowship (1959-61)
Garland, Peter (Soundings Magazine): Correspondence with (1970-73)
Garvey, John: Letters from (1956-60)
Genesis of a Music (1949): Correspondence with U. of Wisconsin Press
regarding first edition of Genesis of a Music; includes requests for
reprinting (1952-71)
Box 5
51

Graham Foundation: Correspondence regarding a grant (1962)
Grayson, John: Correspondence with (1969)
Guggenheim Foundation: Correspondence with (1950-70)
Harrison, Lou: Correspondence with (c. 1954-70); includes many of Lou's
caligraphed letters
Harry Partch Foundation: Correspondence and documents regarding establishing
of Foundation (1969-71)
Hi Fi/Stereo Review: Correspondence with, regarding article (1960-61)
Institute of International Education: Letter from Duggan (1935)
Instruments - Shipping: Various invoices; some HP lists (1956-64)
Insurance: Insurance of instruments, etc.; some HP lists; (1968-73)
Insurance - Health: Docs. relating to HP health insurance (1960-65)
Johnston, Ben: Letters from (1968-74)
Koussevitzky Foundation (Library of Congress): Letters regarding Koussevitzky
commission; one HP carbon (1966-74)
Library of Congress - The Bewitched: Letter acknowledging HP gift of The
Bewitched MS (1957)
Marshall, Lauriston: Correspondence with (1957-68)
Medical Charges Jan. '74: Spiral-bound notebook with lists of medical
expenses, and income; copy of letter from Walter L. Johnson MD to Harold Frank
MD describing Partch’s medical history (1974)
Onslow-Ford: Letters from Gordon and Jacqueline Onslow-Ford to Partch and
Danlee Mitchell (1958-72)
Pan American Union: Exchanges of letters; HP carbons (1956-60)
Perrett, Wilfred: MS letters from Wilfrid Perrett (1934-35)
Pouliot, Stephen: Letters from Stephen Pouliot
Prockelo, Vincenzo: Typed and pencil poems by Vincenzo Prockelo (1962 ?)
RCA: Documents, carbons of letters, etc. relating to pressing of recordings
by RCA (1957-63)
Radio Diffusion: Correspondence with Pierre Schaeffer (1961-62)
Record Companies: Letters from record companies (1954-61)
Box 7
Records - Correspondence with Purchasers: Correspondence with persons
purchasing HP privately released records
Box 8
52

Records - Labels, jackets: Correspondence with printers and suppliers (1954-
62)
Records - Timings: Various HP lists of record timings
Records - Pressing of: Documents and carbons regarding pressing records
(1953-58)
Records and Tapes - Inventories: Various HP lists of records and tapes; MS
lists of records and tapes (these lists identify acetates and tapes that
Marshall later gave to the Partch Archive)
Receipts: Misc. receipts
Rockefeller Foundation: Regarding application for grant (1961-62)
Schlesinger, K.: Two ALS letters from Kathleen Schlesinger (1933)
Schuller, Gunther: two letters from, and clippings (1962)
Schell, Linda: Letters from (1969-72)
Sitka Spruce: Carbon of letter to lumber co. (1961)
Smithsonian Inst.: Carbons, letters from James Morris, etc. (1969-70)
Smithsonian Inst. - Tour: Correspondence regarding proposed tours (1969-72)
Soundboards/Cimbalon: Brochure and photocopies re: soundboard material, etc.
(1963)
Box 9
Source Magazine: Corr. from Larry Austin and Art Woodbury (1966-72)
Spenser, Sylvia: Letters from, and grant application (1959-60)
Taxes - 1972: Docs. and letters to accountant regarding taxes
Taxes - 1973: ditto
Taxes - California Tax Records: (1953-71)
Taxes - Income: Carbons of letters to accountants and other tax documents
(1951-72)
Thorne, Francis: Letters from, and several HP carbons (1968-72)
Tourtelot, Madeline: Correspondence between HP and; includes very important
Partch outline and script of Windsong (1959-72)
Tourtelot - Brochures: Copies of Tourtelot films brochures
Box 10
U.S. Highball - Record Brochure: Copy of 1959 subscription for The Third
Harry Partch Subscription Fund
U.S. Information Agency: Regarding recordings and photos (1957-60)
University of California, San Diego: Correspondence with UCSD regarding HP
appointment; letters from various administrators; many HP carbons; exam
53

materials. Some very important material included: HP summaries of Madeline
Tourtelot films (orig. typescript) - esp. of Revelation (1968-72)
University of California, Los Angeles: Correspondence and documents regarding
production of Delusion of the Fury; includes Partch “Statement” about scores
and instruments (1967)
University of Hawaii: Letters regarding HP visit (1971)
University of So. Florida: Correspondence regarding possible trip (1969)
University of Wisconsin: Carbon of memp from faculty in support of
Partch(1945)
Valle, Joe (Valle Music Reproduction): Carbons of letters to (1963-74)
Venice, Calif. - Music Studio: Carbons of letters and itemizations of
expenses regarding remodeling of studio (1965)
Water! Water! - Documents, University of Illinois: Documents relating to
production at U. of Illinois (1960-62)
Yates, Peter: Correspondence with (1953-68)
Box 11
Box of unsorted incoming misc. correspondence
Box 12
Partch’s original folders
Box 13
Ash tray, made by Partch from bamboo section
54

III. HARRY PARTCH ARCHIVE
This series consists of original materials collected or created for the
Archive, not part of individual collections above.
55

1. INDIVIDUAL FOLDERS
Each folder has material relating to Partch in association with an individual
person, topic, event, institution, organization, documents at a library or
university, etc. The title/name of each folder is followed by a brief
description of its contents.
Box 1
Albuquerque, New Mexico: Documents about Partch and his family at Albuquerque
(c. 1914-19).
American Festival of Microtonal Music (New York): Program, newsletters, and
materials by the American Festival of Microtonal Music, organized by Johnny
Reinhard, director, which has performed some of Partch's compositions.
Barzun, Jacques: Correspondence between Thomas McGeary and Barzun (1983);
McGeary’s notes on the Partch letters, etc., in Barzun's papers at Columbia
University.
Beckwith, John: Photocopies of letters between Partch and Beckwith (1958-64)
(provided courtesy of Danlee Mitchell) (1957-87)
Benson, Arizona: Magazines, notes, etc., about Benson, Arizona; with McGeary
notes about possible materials about Benson for further investigation.
Biglow, Bill: Photocopies of letters to Partch (1971-73); copies courtesy of
Bob Gilmore
Bookman, Steven: Photocopy of letter from Partch to Steven Bookman (1973)
(provided courtesy of Johnny Reinhard)
Brant, Henry: Transcript of interview between Betty Freeman and Henry Brant
(tape in HP Archive) (1985); photocopy of relevant portion of interview with
Brant from Soundpieces: Interviews with American Composers (1982)
British Harry Partch Society: Various newsletters and publications
Box 2
Cage, John: Note-O-Gram carbon from Cage to McGeary about Partch.
Cameron, Janet: Seminar paper on Li Po Settings (1981).
Carnegie Corporation of New York: Photocopies of letters, etc., regarding
Partch's 1934-35 research trip to England (1934-40).
Charles, Cecil: (see Harry Partch/Delusion of the Fury)
Copland, Aaron: Letter from Copland to Tom McGeary about Partch.
Couper, Mildred: 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). (1986)
Cunningham, Imogene: Photographs of Partch at Mills College (1952). Removed
to Photograph Box.
Daniel, Oliver: Transcript of interview with Betty Freeman (tape in HP
Archive) (1985)
56

Driscoll, Harold and Bertha (1979): Photocopies of letters, score, etc., made
in 1979. Both are deceased and the locations of the originals of these items
is not known. Photocopy of the original india-ink-on-paper score of “Before
the Cask of Wine” is Removed to Musical Scores Box.
Driscoll, Harold and Bertha (1986): Photocopies of clippings and letters from
Partch to Driscolls (1941-72) now in the possession of Jonathan Glasier (made
in 1986)
Drummond, Dean: Photocopies of letters from Partch to Drummond 1966-1972
(photocopies courtesy of Dean Drummond)
Federal Writers' Project, Arizona: Photocopies of letters about Partch's
employment in FWP (1936); plus McGeary correspondence and other materials
about the FWP.
Federal Writers' Project, Calif.: Photocopies of McGeary correspondence about
Partch's employment in FWP (1979-80)
Flanders/Capers: Letters from Peter Flanders and Roberta Fansler Capers to
McGeary about their knowledge of Partch and their families (1980)
French, Loran ("Cloudy") and Tilda: Photocopies of letters from Partch to
them (1963-70)
Gaburo, Kenneth: Correspondence between McGeary and Gaburo (and others)
relating to Partch publishing projects and Lingua Press (1979-86).
Hanson, Howard: Letter from Hanson regarding Partch (1979)
Harrison, Lou: Photocopies of sections relevant to Partch from A Lou Harrison
Reader (mostly reproduction of letters between Partch and Harrison)
Haverlin, Carl: 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 removed to Musical Scores Box.
Historical Pictures Service: Reproductions of two photographs of Partch.
Illini Union Student Activities: Photocopies of internal documents about
Water! Water! production at the University of Illinois (1961-62).
Institute of International Education, New York: Printout from microfilm of
documents from their files (including letters from Partch) regarding Partch's
research trip to England 1934-35. THESE PRINTOUTS MAY NOT BE PHOTOCOPIED
WITHOUT PERMISSION OF THE ORIGINAL OWNER.
Jacobs, Dr. Jim and Marian: Photocopies of letters from Partch to them
(1969-73)
Johansen, Gunnar, Blue Mound, Wis.: 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.
Johnston, Ben: Articles, clippings, and writings about Partch, including
photocopies of letters to and from Partch; grant applications; corr. with
various persons; publications and interview transcript.
Box 4
57

Kassel, Richard: Copy of article about Partch's indian music transcription
(with cassette) from Musicworks 51 (1991).
Keats, Donald: Letter from Keats to Betty Freeman describing Partch's stay in
Yellow Springs, Ohio (1957)
Lauterer, Arch: Various materials about Lauterer, director of Mills College
production of King Oedipus
League of Composers/N.Y. Public Library Museum and Library of Performaing
Arts: Photocopy of 1944 concert program (at N.Y. Public Library)
Library of Congress, Music Division: Misc. correspondence with Thomas McGeary
about their Partch scores (1980-89).
Library of Congress - Elizabeth S. Coolidge Collection: Photocopies and notes
of correspondence between Partch and Coolidge (1932); includes McGeary notes
on the collection.
Library of Congress - Serge Koussevitzky Music Foundation: Photocopies and
notes of correspondence regarding commissioning of Delusion of the Fury
(1966-74)
Library of Congress - Slonimsky Collection: Photocopies and notes of
materials sent by Partch to Nicolas Slonimsky (1963-65), including draft
scenario of Delusion of the Fury ; includes McGeary notes on the collection
Lubliner, Malcolm: Contact sheets (B&W)of his photos of Partch. Removed to
Photograph Box.
Luening, Otto: 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.
McChesney, Robert and Mary: Correspondence with them, photocopies of
materials about them and clippings about Partch
McClure, John (Columbia Records): Copies of letters from Partch (1968-72)
McGeary, Thomas: Correspondence with various persons and organizations in
course of collecting material for the Archive.
McMillan, Ann E.: Photocopy of letter from Partch (1942)
Mills College, Oakland, Calif.: Photocopies of material relating to
production of King Oedipus (1952)
Mitchell, Danlee: McGeary correspondence with, and copies of various materials
Moldenhauer Archives (Harvard University): McGeary correspondence about their
Partch holdings; photocopy of letter from Partch to Moldenhauer (1959)
Box 5
Moore, Douglas, Columbia University Library, Special Collections Department:
Photocopies of Partch letters to Moore (1952-59). THESE ITEMS MAY NOT BE
PHOTOCOPIED WITHOUT PERMISSION OF OWNER
New York Public Library: McGeary correspondence about their Partch holdings
58

Nikolais Dance Company, Alwin: Photocopies of letters from Partch (1957) and
of photos of 1957 The Bewitched production
Oliveros, Pauline: Photocopy of letter from Oliveros to Betty Freeman about
Partch (1985)
Onslow-Ford, Gordon: McGeary correspondence with (1987), and material about
his paintings
Partch Family: Photocopies of various materials about Virgil and Jenny
Partch; land deeds and homestead claims in Arizona; material regarding Partch
and brother and sister, etc.
PARTCH, HARRY/ And on the Seventh Day Petals Fell in Petaluma: Preliminary
notes, scenarios, etc. (xeroxes of material in the Harry Partch Estate
Archive)
PARTCH, HARRY/ BMI brochures: Brochures about Partch distributed by BMI
PARTCH, HARRY/ Barstow (1941): Score of Barstow in its original voice and
adapted guitar setting; photocopy of original in the Harry Partch Estate
Archive). Removed to Music Scores box.
PARTCH, HARRY/ Barstow (1954): Pencil draft for 1954 version (photocopy of
notebook now at the Moldenhauer Archive, Harvard University). THIS ITEM MAY
NOT BE PHOTOCOPIED WITHOUT PERMISSION OF ORIGINAL OWNER. Removed to Music
Scores box.
Box 6
PARTCH, HARRY/ The Bewitched - Scenarios: Originals and photocopies of
scenarios to The Bewitched, from various sources
PARTCH, HARRY/ Birth and death certificates: Photocopies of birth and death
certificates
PARTCH, HARRY/ Bitter Music: Printout from microfilm in the Marshall
Collection
PARTCH, HARRY/ Bitter Music (musical examples): Printout of music examples
for Bitter Music, from microfilm in the Marshall Collection
Box 7
PARTCH, HARRY/ Composers Recording, Inc.: Correspondence between CRI and
Partch regarding Petals and The Bewitched recordings (photocopies of originals
at CRI, New York) (1963-73)
PARTCH, HARRY/ Concert programs: Photocopies and originals of concert
programs during Partch's life and after his death
PARTCH, HARRY/ Correspondence: 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 (1952-59)
PARTCH, HARRY/ Da Capo Press: Correspondence between Da Capo and Partch
(1968-74) regarding second edition of Genesis of a Music (photocopies of
material in the Harry Partch Estate Archive)
PARTCH, HARRY/ Delusion of the Fury (1969 UCLA production): Photographs of
Delusion of the Fury production taken by Cecil Charles Spiller. Removed to
Photograph Box
59

Box 8
PARTCH, HARRY/ The Dreamer That Remains: Special dedicatory page to Stephen
Pouliot (photocopy of original vellum master sheet in the Harry Partch Estate
Archive)
PARTCH, HARRY/ End Littoral: Printout of microfilm in the Marshall Collection
PARTCH, HARRY/ "Even Wild Horses": Photocopy of original typescript scenarios
in the Peter Yates papers, UCSD library, Mandeville Department of Special
Collections
PARTCH, HARRY/ "Exposition of Monophony": Photocopy of original typescript
(1933) now owned by Jonathan Glasier, San Diego
PARTCH, HARRY/ "Life in the Houses of Technitution": Photocopy of facsimile
printed in Allos: 'Other' Language, ed. Kenneth Gaburo
PARTCH, HARRY/ "Manual on the Maintenance and Repair of . . . Musical
Instruments": Photocopies of original in the Harry Partch Estate Archive, San
Diego (47 pp.)
PARTCH, HARRY/ Miscellaneous documents: Bill of lading for moving (1971),
letter to the cast of “Bewitched” (1957)
PARTCH, HARRY/ Musicians as "Artists" (1947): Photocopy of typescript
(original in the Harry Partch Estate Archive) (12 pp.)
PARTCH, HARRY/ My Heart Keeps Beating Time (1929): Photocopy of published
song, from Brown University Library copy.
PARTCH, HARRY/ "On G-String Formality": Printout of typescript from microfilm
in Marshall Collection
PARTCH, HARRY/ Vivian Perlis: Transcript of oral history interview with
Partch (original tape at Yale University; copy of tape in Partch Archive,
duplicate cassette series)
PARTCH, HARRY/ Photographs: Photographs of Partch by various persons. Removed
to Photograph Box
PARTCH, HARRY/ "Polyphonic Recidivism on a Japanese Theme (1945): Photocopy
of original score in Harry Partch Estate Archive, San Diego. Removed to
Musical Scores Box
Box 9
PARTCH, HARRY/ Published writings: Photocopies of Partch's published writings
PARTCH, HARRY/ "A Quarter-Saw Section of Motivations and Intonations":
Original mimeograph transcript of talk Partch gave at ASUC meeting,
Tanglewood, summer 1967. Preliminary leaf + 13 pp.
PARTCH, HARRY/ Ratio Keyboard: Color photographs with negatives of Partch's
drawings for the keyboard (April 1932); original drawings owned by Jonathan
Glasier, San Diego
PARTCH, HARRY/ Recordings: Brochures for recordings; originals and
photocopies
60

PARTCH, HARRY/ "Resume of Oral Exposition" and "Resume of Exposition of
Monophony" (c1932): Photocopies of originals now at the Moldenhauer Archive,
Harvard University
PARTCH, HARRY/ Revelation in the Courthouse Park: Preliminary drafts, notes,
scenarios, etc.; plus draft scenarios for works never composed (photocopies of
material in the Harry Partch Estate Archive, San Diego)
PARTCH, HARRY/ Rotate the Body in All Its Planes: Color slides of production
at the University of Illinois (duplicates of slides taken and owned by Danlee
Mitchell). Removed to Photograph Box
PARTCH, HARRY/ "Rhythmic Motivations of Castor and Pollux and Even Wild
Horses": Photocopy of original typescript in the Peter Yates papers, UCSD
library, Mandeville Department of Special Collections) (8 pp.)
PARTCH, HARRY/ Study for Harmonic Canon I and Kithara I: Photocopy of
original score in the Harry Partch Estate Archive, San Diego). Removed to
Musical Scores box.
PARTCH, HARRY/ U.S. Highball (early pencil draft - 1943): Photocopy of
original score in the Harry Partch Estate Archive, San Diego. Removed to
Musical Scores box.
PARTCH, HARRY/ U.S. Highball (two draft librettos and pocket notebook Partch
carried on trip): Photocopies of material in the Harry Partch Estate Archive,
San Diego
PARTCH, HARRY/ Water! Water!: Color slides of original production at
University of Illinois (copies of slides taken by and owned by Danlee
Mitchell). Removed to Photograph Box
PARTCH, HARRY/ Water! Water!: (press release and program): Copy of press
release and program for original University of Illinois production
Box 10
Porter, Quincy: Photocopy of letter from Partch to Porter (1958)
Record jackets: Photocopies of record jackets of Partch's Gate Five and
commercial recordings
Richards, Emil: Photocopies of letters from Partch to Richards (1963-74)
Siwe, Tom: Originals and photocopies of various materials regarding Partch
Southwest Museum, Pasadena, Ca.: Photocopies of Partch's transcription of
Indian songs, made in early l930s. DO NOT PHOTOCOPY WITHOUT PERMISSION OF
OWNER OF DOCUMENTS
Spiller, Cecil Charles: see Harry Partch/Delusion of the Fury.
Stern, Gerd: McGeary correspondence with Stern, and other materials about
Partch
Swanson, Jerry: Small group of materials about Partch from performer in
Water! Water!; include photocopy of letter from Partch (1964)
Temperley, Nicholas: Original typescript of unpublished review article about
Partch's Revelation, with photos (1961). Photos removed to Photograph Box
61

Thomson, Virgil: Photocopies of letters between Partch and Thomson (1942-53)
(Originals at Yale University) DO NOT PHOTOCOPY WITHOUT PERMISSION OF OWNER OF
ORIGINAL DOCUMENTS
Time-Life Photos: Contact sheets (original and photocopies) of photographs of
Mills College production of King Oedipus (1952)
Box 11
Tourtelot, Madeline: McGeary correspondence with, and photocopies of
brochures of her films about Partch
Tuttle, Preston: Letter from Tuttle to Ben Johnston (1979) about Partch
University of Southern California: Correspondence with University archivist
and emeritus faculty member Pauline Alderman about Partch at USC
University of Wisconsin (I): Misc. correspondence with Library and Press
about their Partch holdings; includes photocopies of two letters from Scudder
MeKeel (1945)
University of Wisconsin (II): Photocopies of various materials from UW Press,
UW Archives, and local newspapers collected by Ron Wiecki (xeroxes courtesy of
Ron Wiecki)
University of Wisconsin Press: Photocopies of selected letters from and about
Partch 1949-85) (Xeroxes courtesy of Ron Wiecki)
Wiecki, Ron: Correspondence with and draft copy of an article about Partch
Yeats, W. B.: Photocopies of Yeats published correspondence about Partch;
copies of other items and Yeats's King Oedipus
Young, Ella: Partch letter to Young (original at UCLA library) (1945)
Box 12 (vacant - reserved for expansion of collection)
62

2. MUSICAL SCORES
Blue-line original or photocopies of Partch autograph scores. Assembled from
various sources.
In individual clam-shell boxes
The Dreamer That Remains and The Letter (from Pouliot Collection)
Revelation in the Courthouse Park (from Barnard Hewitt Collection)
Water! Water! (from Barnard Hewitt Collection)
Revelation in the Courthouse Park (copy used by John Garvey in UIUC
production; purchased from private party in Britain in 2002)
The Bewitched (copy used by John Garvey in UIUC production; donated by
member of Garvey family)
Delusion of the Fury (work copy used for UCLA production; cover is one
of three made by wife of Emil Richard); purchased from Clay Grossman,
Chicago.
In single box
Barstow (1941)
Barstow (1954): pencil draft
Before the Cask of Wine (copy from Driscoll folder)
Castor & Pollux
Finnegan’s Wake
Jine the Cavalry (copy from Carl Haverlin folder)
My Heart Keeps Beating Time (1929) (copy from Partch: My Heart Keeps
Beating Time folder)
Polyphonic Recidivism (1945)
U.S. Highball (1943): pencil draft
U.S. Highball - Chromelodeon part
63

3. PHOTOGRAPH BOXES
These boxes contain photographic material (slides, prints, and negatives
transferred from various collections and/or folders. See original source for
fuller description.
Box 1
Robert Kostka Collection: folder 4 (WTTW-TV Bewitched program)
Betty Freeman Collection: folder 7 (photographs)
Imogene Cummingham folder/Harry Partch Archive
Lynn Ludlow Collection: folder 1 (photo of Partch)
Champaign Studio folder/Harry Partch Archive
Jean Cutler Collection: folder 17
Jean Cutler Collection: folder 18
Box 2
Delusion of the Fury folder/ Harry Partch Archive: photos by Cecil Charles
Spiller
Marshall Collection: folder 16 (photos at Gualala)
Malcolm Lubliner folder/Harry Partch Archive (Delusion photos)
Box 3
Time-Life folder/Harry Partch Archive (photos of Oedipus production)
Mark Stevens folder/Harry Partch Archive (photos of Partch)
Partch: Ratio Keyboard folder/Harry Partch Archive
Nicholas Temperley folder/Harry Partch Archive (photographs of Revelation in
the Courthouse Park from UIUC public information office)
Pouliot Collection: folder 6 (photos)
Partch: Water! Water! folder/Harry Partch Archive
Partch: Rotate the Body folder/Harry Partch Archive
Partch: Photographs by various persons folder/Harry Partch Archive
64

4. BIBLIOGRAPHY PROJECT
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.
65

5. BEN JOHNSTON TRANSCRIPTION PROJECT
Correspondence and copies of transcriptions (in Johnston's special notation)
of a number of early Partch scores.
66

Interview Cassette #1
6. ORAL HISTORY INTERVIEWS
Interview with Lou Harrison (composer) about Harry Partch.
Aptos, Calif., 1. Jan. 1978; interviewed by Ben Johnston and Tom McGeary
Interview Cassette #2
Interview with Lou Harrison (concluded)
Interview Cassette #3
Discussion with Chris Forster (instrument builder and composer) about
Harry Partch. Others present: Ben Johnston, Tom McGeary, Mark Behm, and
John ; San Francisco, Ca., 3. Jan. 1978
Interview Cassette #4
Discussion with Chris Forster (concluded)
Interview Cassette #5
Interview with John and Pat Wright (painter) about Harry Partch.;
Inverness, Ca., 7. Jan. 1978; interviewed by Ben Johnston and Tom
McGeary
Interview Cassette #6
Interview with Robert (painter) and Mary (sculptress) McChesney about
Harry Partch; Petaluma, Ca., 8 Ja. 1978; interviewed by Ben Johnson and
Tom McGeary
Interview Cassette #7
Interview with Francis Crawford (dentist) about Harry Partch; Petaluma,
Calif., 8. Jan. 1978; interviewed by Ben Johnston and Tom McGeary
Interview Cassette #8
Interview with Francis Crawford (concluded)
Interview Cassettes #9-11
Interview with Larry (Lauriston) Marshall (retired physicist) about
Harry Partch; Gualala, Calif., 9 Jan. 1978; interviewed by Ben Johnston
and Tom McGeary
Interview Cassette #12
67

Interview with George Everson (retired; formerly at Radiation Lab., UC
Berkeley); Gualala, Calif., 10. Jan. 1978; interviewed by Ben Johnston
and Tom McGeary; also present: Larry Marshall
Interview Cassette #13
Interview with Ruth McNamee (widow of Jimmie McNamee, owner of McNamee's
Store, Gualala) about Harry Partch; Gualala, Calif., 11. Jan. 1978;
interviewed by Ben Johnston, Tom McGeary, and Larry Marshall.
Interview Cassettes #14-15
Interview with Lucie Marshall (wife of Larry) about Harry Partch;
Gualala, Calif., 11. Jan. 1978; interviewed by Ben Johnston and Tom
McGeary
Interview Cassette #16
Interview with Lucie and Larry Marshall about Harry Partch; Gualala,
Calif., 12. Jan. 1978; interviewed by Ben Johnston and Tom McGeary
Interview Cassette #17
Interview with Ruth McNamee (owner of store at Gualala, Ca., when Partch
lived there in 1948-50); interview conducted by Larry and Lucie Marshall
Gualala, Ca.
Interview Cassette #18-19
Interview with Gordon Onslow-Ford (painter) about Harry Partch;
Inverness, Calif., 13. Jan. 1978; interviewed by Ben Johnston and Tom
McGeary
Interview Cassette #20
Interview with Henry Brant about Harry Partch; Del Mar, Calif., 22
February 1980 (at Bert Turetsky's home); interviewed by Danlee Mitchell;
(tape courtesy of Danlee Mitchell)
Interview Cassettes #21-22
Interview with Gunnar Johansen (Blue Mound, Wis.) about Harry Partch;
interviewed by Ben Johnston & Tom McGeary; 1978
68

Interview Cassettes #23-24
Interview with Barnard Hewett about Harry Partch. Champaign, Ill., 8
April, 1978; interviewed by Ben Johnston & Tom McGeary
Interview Cassette #25
Interview with Jack McKenzie about Harry Partch. Urbana, Ill.;
6/26/1978; interviewed by Ben Johnston.
Interview Cassette #26
Interview with Pia Gilbert about Harry Partch. Los Angeles, 5. January
1978; interviewed by Ben Johnston and Tom McGeary
Interview Cassette #27
Interview with Carl Haverlin about Harry Partch; Northridge, Calif., 29.
Dec. 1978; interviewed by Ben Johnston and Tom McGeary
Interview Cassette #28
Interview with Dr. and Mrs. James Jacobs about Harry Partch; Los Angeles
(Encino); 6. January 1979; interviewed by Ben Johnston and Tom McGeary
Interview Cassette #29
Interview with Will Ogdon about Harry Partch; U.C.S.D., 10. January
1979; interviewed by Ben Johnston and Tom McGeary
Interview Cassette #30
Interview with David and Susan Ward-Steinman about Harry Partch. La
Mesa, Calif., 8. Jan. 1979; interviewed by Ben Johnston and Tom McGeary
Interview Cassette #31
Interview with Dr. Raymond Weston about Harry Partch; Beverly Hills,
Calif., 6. Jan. 1979; interviewed by Ben Johnston and Tom McGeary
Interview Cassette #32
Interview with Mr. & Mrs. French about Harry Partch; Whittier, Calif. 5.
Jan. 1979; interviewed by Ben Johnston and Tom McGeary
(concluded on Cassette #33)
69

Interview Cassette #33
Side A: Interview with Frenches concluded
Side B: Interview with Katie Bjornson about Harry Partch
Interview Cassette #34
La Mesa, California, 11. Jan. 1979; interviewed by Ben Johnston
and Tom McGeary
Interview with Jon & Jonathan Glasier about Harry Partch
San Diego, 10. Jan. 1979; interviewed by Ben Johnston and Tom McGeary;
also present Jonathan's wife Elizabeth
Interview Cassette #35
Side A: Interview with Glasiers concluded
Side B: Soundtrack of film "The Music of Harry Partch" produced by
KPBPS-TV, San Diego State University. Includes performance of "Daphne
of the Dunes"
Interview Cassettes #36 & 37
Interview with Betty Freeman about Harry Partch; Beverly Hills, Dec. 28
1978; interviewed by Ben Johnston and Tom McGeary (? also present
Stephen Pouliot and David Cloud)
Interview Cassettes #38 & 39
(Second) Interview with Betty Freeman about Harry Partch; Beverly Hills,
4. Jan. 1979; interviewed by Ben Johnston and Tom McGeary
Interview Cassettes #40, 41, & 42
Interview with Emil Richards about Harry Partch; Hollywood, Ca., Jan. 4
1979; interviewed by Ben Johnston and Tom McGeary; (also present,
Celeste Richards)
Interview Cassettes #43, 44, & 45 (side A):
Interview with Erv Wilson about Harry Partch; Highland Park (Los
Angeles); 7. Jan. 1979; interviewed by Ben Johnston and Tom McGeary
Interview Cassette #45 (side b)
Interview with Peter Farrell about Harry Partch; U.C.S.D.; 10. Jan.
1979; interviewed by Ben Johnston and Tom McGeary
Interview Cassette #46
Interview with Dr. Warren Gilson about Harry Partch; Madison, Wisc.
March 31, 1979; interviewed by Tom McGeary
70

Interview Cassette #47 & 48
Interview with Otto Luening about Harry Partch; April 1979; New York;
interviewed bv Ben Johnston
Interview Cassette #49
Interview with Oliver Daniel about Harry Partch; New York, April 1979;
interviewed by Ben Johnston
Interview Cassette #50
Interview with Marshall Glasier about Harry Partch; New York, April
1979; interviewed by Ben Johnston
Interview Cassette #51
Interview with Dean Drummond about Harry Partch; New York, April 1979;
interviewed by Ben Johnston
Interview Cassette #52
Reminiscences of Harry Partch by Gordon Onslow-Ford with Betty Freeman;
Beverly Hills, Calif., Jan. 19, 1977; also with Luchita Mullican; tape
gift of Betty Freeman; interview conducted at the home of Betty Freeman
Interview Cassette #53 & 54
Interview with Harold and Bertha Driscoll about Harry Partch; La Mesa,
California, Jan. 11 1979; interviewed by Ben Johnston and Tom McGeary
Interview Cassette #55 & 56
Interviews with Harry Partch, Danlee Mitchell, and Jim Aikenhead for
soundtrack of film The Dreamer that Remains; interviews conducted
(mostly) by Stephen Pouliot; Encinitas, Calif.; Gift of Betty Freeman
(producer of film)
Interview Cassette #57
Interview with Jack Logan about Harry Partch; San Diego, Jan. 12, 1979;
interviewed by Ben Johnston
Interview Cassette # 58
Interview with Pauline Oliveros about Harry Partch; U.C.S.D., Jan 12,
1979; interviewd by Ben Johnston
Interview Cassette # 59
Interview with John Chalmers about Harry Partch; conducted at North
Texas State University, Denton, TX, 18 Sept. 1979; interviewed by Tom
McGeary
71

Interview Cassettes # 60 & 61
Interview with Ben Johnston about Harry Partch; Urbana, Illinois; July
31, 1983.
Interview Cassette # 62
Interview with Steve and Lucienne Dimitroff; interview conducted by
Larry and Lucie Marshall, 34001 South Highway One, Gualala, CA 95445;
fall 1978
Interview Cassette # 63
Interview with Michael Ranta; interview conducted bv Bob Gilmore, Köln,
Germany, August 14, 1989
Interview Cassette # 64
Interview with Gerd Stern about Harry Partch; interview conducted at
Englewood Cliffs, New Jersey, 28 June 1984; interviewed by Tom McGeary
Interview Cassette # 65
Interview with Oliver Daniel about Harry Partch; interview conducted by
Betty Freeman, Dec. 10 1985, at Oliver Daniel's home, in Scarsdale, New
York; tape gift of Betty Freeman, Beverly Hills, Ca.
Interview Cassette # 66
Interview Cassette # 67 (another copy)
Interview with Henry Brant about Harry Partch; interviewed by Betty
Freeman at her home on 1 Dec. 1985; tape gift of Betty Freeman
Interview Cassette # 68
Side A: Interview with Ben Johnston, conducted by Tom Miller (July 1985)
Interview with Danlee Mitchell, conducted by David Soldier (beginning) 1
August 1985;
Side B: Interview with Danlee Mitchell (concluded)
Both interviews were conducted by telephone and broadcast over
WKCR-FM New York; copy of interviews courtesy of WKCR-FM
Interview Cassettes # 69, 70, 71
Conversation between Betty Freeman and Steve Pouliot concerning Harry
Partch; February 24, 1977; tapes courtesy of Betty Freeman
Interview Cassette # 72
Interview with Larry Austin about Harry Partch; North Texas State
University, Denton, TX, 24 April 1980; interview conducted by Tom
McGeary
Interview Cassette # 73 & 74
72

Interview with John Garvey about Harry Partch; Urbana, Illinois July 20,
1979; interview conducted by Ben Johnston
Interview Cassettes # 75, 76, 77, 78
Interview with Harry Partch, conducted by Vivian Perlis; San Diego,
March 1974
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. THIS TAPE MUST NOT BE FURTHER
DUPLICATED.
Interview Cassette # 79
Interview with Pauline Oliveros about Harry Partch; interview conducted
by Betty Freeman Beverly Hill, CA, November 9, 1986
Interview Cassette # 80 (same as #50)
Interview with Marshall Glasier; interviewed by Ben Johnston, New York,
NY; April 1979
Interview Cassette # 81 (same as # 52)
Reminiscences of Partch by Gordon Onslow-Ford and Betty Freeman; January
l9, 1977
73

Harry Partch Archive
Duplicate cassette # 1
7. DUPLICATE CASSETTES
Harry Partch: Lecture and demonstration delivered at Royce Hall, UCLA, 8
May 1966, as part of the 20th Century Music Series. A slightly abridged
version of the lecture was printed in Source No. 1 (January 1967)
Harry Partch Archive
Duplicate cassette # 2
Harry Partch: Lecture delivered at the University of Hawaii (9 July
1971), as part of the Festival of the Arts of This Century. Copy
provided by University of Hawaii (courtesy of John Van der Slice)
Harry Partch Archive
Duplicate cassette # 3
Partch: A monologue about dramatic ideas in music. Tape from Peter Yates
Collection, University of California at San Diego, Mandeville Library,
Special Collections Dept. Tape made by Peter Yates, probably in Los
Angeles in 1965-66. Duplicate cassette made by permission of Special
Collections Department, UCSD Library.
Harry Partch Archive
Duplicate cassette # 4
side one: Partch: "A Quarter-Sawcut Lecture on Intonation"; (A Lecture
presented on tape to Tanglewood ASUC conference summer of 1967)
side two: (Quarter-Sawcut Lecture continued);
Dreamer That Remains - copy of soundtrack for film by Stephen Pouliot
and Betty Freeman
Harry Partch Archive
Duplicate cassette # 5 & 6
Partch: "Oedipus the King"; duplicate from Mills College Library of
original performance; of Partch's settings of Oedipus in the W. B. Yeats
translation; March 19, 1952
Two cassettes; Dolby B; copy provided courtesy of Mills College,
Oakland.
Harry Partch Archive
Duplicate cassette # 7 & 8
"A Soul Tormented by Contemporary Music Looks for a Humanizing Alchemy."
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)
74

Harry Partch Archive
Duplicate Cassette # 9
Partch: U.S. Highball. Ensemble conducted by Jack McKenzie; duplicate of
tape in U. of I. Music Library (Special Collections/Tape MO 60260) (?
dup from Gate 5 recording)
Harry Partch Archive
Duplicate cassette # 10
Partch-Johnston The Wooden Bird (incidental music for play by Wilford
Leach). 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
Harry Partch Archive
Duplicate cassette # 11 & 12
Partch: Revelation in the Courthouse Park; complete premiere
performance, April 11, 1961; University of Illinois, ensemble conducted
by John Garvey
two cassettes; duplicate from tape in University of Illinois Music
Library (Special collections/ tape MO 48981)
Harry Partch Archive
Duplicate cassette # 13
Side A: Lecture by Partch prior to live performance of Plectra and
Percussion Dances at International House, Berkeley, Nov. 19,
1953.
Copy from Marshall Collection, Tape 5
Side B: Interview with Madeline Tourtelot and Harry Partch prior to
screening of Tourtelot's film Windsong on WTTW-TV, Chicago,
19 March 1958
Copy from Marshall Collection, Tape 3
Harry Partch Archive
Duplicate Cassette # 14
Cassette of performances of Partch by American Festival of Microtonal
Music, Johnny Reinhard, Director
1. "December 1942" - J.R. voice; Bradford Catler, fretless bass;
5/30/87
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
75

Harry Partch Archive
Duplicate Cassette # 15
tape courtesy of Johnny Reinhard
side one: Marshall Tape 23
Marshall Tape 27
side two: Marshall Tape 26
Marshall Tape 25
Harry Partch Archive
Duplicate Cassette # 16
side one: Marshall Tape 28
Marshall Tape 29
Marshall Tape 30
side two: Marshall Tape 31
Marshall Tape 24
Marshall Tape 32
Harry Partch Archive
Duplicate Cassette # 17
side one: Marshall Tape 33
Marshall Tape 34 (beginning)
side two: Marshall Tape 34 (concluded)
Marshall Tape 35
Marshall Tape 36 reel a
Harry Partch Archive
Duplicate Cassette # 18
side one: Marshall Tape 5 reel b
Marshall Tape 6 reel a (beginning)
side two: Marshall Tape 6 reel a (concluded)
Marshall Tape 6 reel b
Harry Partch Archive
Duplicate Cassette # 19
side one: Marshall Tape 7
side two: Marshall Tape 8
Marshall Tape 9 (Oedipus talk only)
Marshall Tape 10
Marshall Tape 12 (beginning)
Harry Partch Archive
Duplicate Cassette # 20
side one: Marshall Tape 12 (concluded)
Marshall Tape 17
Marshall Tape 14
side two: Marshall Tape 15
76

Harry Partch Archive
Duplicate Cassette # 21
Marshall Tape 16 reel a
Marshall Tape 16 reel b (beginning)
side one: Marshall Tape 16 reel b (concluded)
Marshall Tape 13 reels a and b
side two: Marshall Tape 13 reels c and d
Harry Partch Archive
Duplicate Cassette # 22
Duplicate of Harry Partch Archive Tape 5 & 6;
(dups from glass base acetate recordings of Partch compositions made in
Madison, Wisc., 1945)
Harry Partch Archive
Duplicate Cassette # 23
Interview between Peter Yates and Harry Partch; probably made at Los
Angeles, Sept. 1960
Harry Partch Archive
Duplicate Cassette # 24
Interview between Studs Terkel and Harry Partch. Made in Chicago on ?16
March 1962 (as preview to Water! Water! production). Interview later
broadcast on WFMT Radio, Chicago. Tape courtesy of WFMT Radio, Chicago
Harry Partch Archive
Duplicate Cassette # 25
Oral comments by Betty Freeman regarding Partch chronology; taped in
Champaign, Ill., 2 April 1989, with Thomas McGeary
Harry Partch Archive
Duplicate Cassette # 26
Partch performances by the American Festival of Microtonal Music
Concerts. 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
77

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
Harry Partch Archive
Duplicate Cassette # 27 - 28
Tape of memorial meeting held at the home of Lou Harrison (637 Upton
St., Redwood City, CA) on Sept. 22, 1974. Those present include Betty
Freeman, Danlee Mitchell, Lou Harrison, and Jack Laron.
Duplicate of Harry Partch Archive Tape # 11; tape courtesy of Betty
Freeman
Harry Partch Archive
Duplicate Cassette # 29
Partch compositions performed by Johnny Reinhard:
copy of Pitch for the International Microtonalist, vol. 1, no. 3 (Winter
1988-89) -- a special cassette issue of the magazine; cassette courtesy
of Johnny Reinhard
contents (from the cassette package):
PITCH Editor: Johnny Reinhard
PITCH Staff: David Grego, assistant editor
David Galt, assistant editor
Norman Greenspan, recording engineer/mastering
Mikhail Liberman, mastering/production
Lauren Rowland, cover design
PITCH FOR THE INTERNATIONAL MICROTONALIST is a publication of the
American Festival of Microtonal Music, Inc., a program of the Cultural
Council Foundation (CCF), a not-for-profit corporation. Send all
inquiries to the editor:
PITCH, c/o Johnny Reinhard, 318 East 70 Street, 5FW New York, New York
10021 U.S.A.
Side A:
Glyptodont by Skip La Plante was named after an extinct South American
mammal. All the musical sounds are acoustically derived from instruments
garnered from trash and the tuning is largely determined by chance.
Music for Homemade Instruments: Alice Eve Cohen/Geoffrey
Gordon/Rolf Groesbeck/Skip La Plante
Composition For Sheng (1985) by Bradford Catler is a modern alternative
to the traditional manner of playing this ancient Chinese mouth organ
which is tuned in "pythagorean" intonation (pure 3/2 fifths) by dripping
melted wax onto metal tongues
Bradford Catler, sheng
78

Religione est une Salope (1981) by Jon Catler is in 31-tone equal
(tricesimorprimal) temperament. The title stems from a personal
philosophy of Mr. Catler's which likens evangelism to sluttishness.
Jon Catler, 31-tone acoustic guitar/Walter Moore and Danice
Gomien, vocals/Johnny Reinhard, bassoon
In the Sprinqtime on the Southside of the Yangtzee Kiang by Harry Partch
is one of 17 Li Po songs composed in the years 1929-1931. In addition to
usinq 43 specific whole number ratios, there are + and - signs preceding
29 ratios, "temperinq" them higher or lower.
Johnny Reinhard, intoned voice/Kenneth Edwards, viola
Composition opus 43 pour Quatuor a Cordes dans l'echelle de Quarts de
Tons by Ivan Wyschnegradsky is a strictly quartertonal work by the
Leningrad born microtonal master, resettled in Paris.
Soldier Strinq Quartet: Laura Seaton and Davld Soldier
violin/Drew Tretick, viola/ Mary Wooten, cello
Presto (1944) by Bela Bartok is actually the final movement of the
Sonata for Violin Solo composed for Yehudi Menuhin with notated
thirdtones and quartertones. Declared too difficult, Menuhin published
and performed the piece denuded of microtones.
Erica Kiesewetter, violin
Walking on a Chinese Moon is a tape composition by Jeff Stayton for Ivor
Darreg's megalyra family of instruments (just intonation tuned string
instruments with electric pick-ups).
Will the Circle be Unbroken/anonymous was a finale performance of an
AFMM concert utilizing different interchangeable just intonation
freetings.
Mark Rankin, just intonation banjo
Side B:
Symphonietta by Johnny Reinhard is a 7 part compositional desiqn for
organized and coordinated improvisation in free intonation. It was
recorded at The School of Media Arts by engineer Vin Leery.
Chromagnon Ensemble: Davld Galt, triton shell, baritone horn,
ocarina/Ron Kozak, bass clarinet, flute, percussion/Merideth K.
Genin, trombone, cuica, conch shell/Don Anon, bamboo flute, shruti
box, gubi jantra, voice/Ian Yeager, flutes, percussion, conch
shell/Johnny Reinhard, bassoon, recorder, conch, voice, percussion
and conductor
December 1942 (1. Come Away Death 2. The Heron 3. The Rose) by Harry
Partch is in Just lntonatlon. "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
Lure by Paul Gallagher for flute solo was composed in just intonation.
The title refers to the American Indian tradition of luring a woman's
heart through one's flute playing charm.
Andrev Bolotovsky, flute
Right-hand Pentachord Variations by Pete Rose is a completely acoustic
piece for a soprano recorder altered by distending the joints and by
placing a fibrous piece of tape completely over the bottom hole of the
instrument.
Pete Rose, prepared soprano recorder
79

Excorcism was composed by Harold Seletsky for a filmed ballet of the
same name. Written and recorded in 1971 by a freelance ensemble of 19
musicians, Seletsky's quartertone harmonies and melodies fuse both
classical and jazz approaches to composition.
New Amsterdam Chamber Orchestra
Valerie Lamoree, soprano
Harold Seletky, conductor
Country Blues No. 2 by Muddy Waters (1942) was arranged by David Soldier
so as to capture the microtonal dimension of the great Mississippi Delta
bluesman. It is now available on "Sequence Girls" on Rift 13.
Laura Seaton, violin/Mary Wooten, cello
80

Harry Partch Archive - 10"
Tape # 1 & 2
8. TAPES
Tape of performance of Partch King Oedipus at Mills College, Oakland, in the
original version using the W. B. Yeats translation. March 19, 1952.
Tape duplicated from copy loaned from Mills College Library.
Harry Partch Archive - 10"
Tape # 3
Tape of performance of Partch King Oedipus at Mills College, Oakland, in
the original version using the W. B. Yeats translation. March 19, 1952
This tape has approximately the last two-thirds of the full recording.
Tape duplicated from copy loaned from Mills College Library.
Harry Partch Archive - 10"
Tape # 4
Tape of unidentified excerpts. (Xerox of original label in box)
This is a duplicate of a copy loaned by Mills College Library, Oakland.
Harry Partch Archive - 7"
Tape # 5 & 6
Dubs from glass base acetates of Harry Partch music, performed at Music
Hall, University of Wisconsin, Madison Feb. 28, March 7, and May 3 1945.
Tape 5: Barstow, Isobel, Annah, By the Rivers of Babylon, Y.D. Fantasy,
Dark Brother.
Tape 6: U.S. Highball
Tape duplicated from copy owned by Larry Gushee
Harry Partch Archive - 7"
Tape # 7
Tape of lecture-demonstration given by Partch at Royce Hall, UCLA, 8 May
1966, as part of the 20th Century Music series presented by the UCLA
Committee on Fine Arts Production.
Portion of lecture printed in Source (Jan. 1967),p. lO3.
Tape provided by David Cloud, KUSC radio station, Los Angeles.
Harry Partch Archive - 7"
Tape # 8
81

Lecture titled "A Quarter-Sawcut Section of Motivation and Intonation" -
presented in absentia to an American Society of University Composers
seminar at Tanglewood, Mass., summer 1967
duplicated from copy owned by John Chalmers (Chalmer's copy provided by
Chris Forster).
Harry Partch Archive - 7"
Tape # 9
"And on the Seventh Day Petals Fell in Petaluma"
Dub of master tape sent by Partch to Ben Johnston (on August 2, 1967);
(Original mailing label included); original tape gift of Ben Johnston
Harry Partch Archive - 7"
Tape # 10
Tape of meeting between Ben Johnston, Garry Kvistad, and Harry Partch
(March 23, 1974, at the Home of Harry Partch, 4809 Felton, San Diego).
duplicate tape provided as gift of Garry Kvistad (Letter from Kvistad
enclosed in tape box)
Harry Partch Archive - 7"
Tape # 11
Tape of memorial meeting held at home of Lou Harrison (637 Upton, St.,
Redwood City, CA) on Sept. 22, 1974. People present include Betty
Freeman, Danlee Mitchell, Lou Harrison, and Jack Larson.
Tape Duplicate gift of Lou Harrison
Harry Partch Archive - 7"
Tape # 12
Tape of Interview between Ben Johnston and Preston Tuttle about Harry
Partch; April 6, 1979
Harry Partch Archive - 7"
Tape # 13
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, folder 4); tape part of Barnard Hewitt Harry
Partch Collection
Harry Partch Archive - 7"
Tape # 14 & 15
Partch-Johnston, The Wooden Bird (incidental music for play by Wilford
Leach); improvised and recorded by Partch and Johnston at Gualala, Ca.,
11-8-1950. Two reels.
82

Copy of original tape at Northwestern University Music Library, Ben
Johnston Collection
Harry Partch Archive - 7"
Tape # 16
And on the Seventh Day Petals Fell in Petaluma
Copy of tape prepared by Partch for Betty Freeman (includes Partch's
inlaid list of movements); two-track stereo tape gift of Betty Freeman,
April 1989
Harry Partch Archive - 7"
Tape # 17
Partch lecture at the University of Hawaii on July 9, 1971, as part of
the Festival of the Arts of This Century 1/4-track stereo tape gift of
Betty Freeman, April 1989
83

9. MICROFILMS and SLIDE STRIPS
In addition to the microfilms that are inventoried as part of the Marshall
collection, there are:
Microfilm no. 1 Duplicate of Marshall Collection microfilm,
Bitter Music and End Littoral journals
Microfilm no. 2 Duplicate of Marshall Collection microfilm, Sonata
Dementia and Intrusions
Microfilm no. 3 Duplicate of Marshall Collection microfilm, Li Po
Settings (two copies)
Microfilm nos. 4 & 5 Partch letters to Otto Luening (1933-62). Microfilm of
originals now at the New York Public Library (positive
and negative copies). DO NOT FURTHER DUPLICATE
Microfilm no. 6 Typescript of Genesis of a Music. Original, unedited
typescript for 1949 edition. Microfilm of original at
the New York Public Library. DO NOT FURTHER DUPLICATE
Set of slide strips "Harry Partch and His Strange Musical Instruments."
Educational Audio Video, Inc. (SE 70072B) (2 slide
strips)
84

10. VIDEOCASSETTES and FILMS
1. The Music of Harry Partch (KPBS-TV, San Diego State College, 1968)
2. U.S. Highball (Madeline Tourtelot, 1963; Beta I)
3. The Dreamer That Remains (several 16mm color prints)
85

11. OVERSIZE
In addition to items mentioned in named collections as being oversize, a flat
16" x 22" box contains the following:
1. A poster announcing Harry Partch Day at the Oakland Museum
2. An enlarged photograph (ca. mid-1920s to 1940) of Partch standing atop a
boxcar
3. A group of enlarged photographs of instruments
86

Tape M3.1/P37U5
v. 1
10" reel to reel/ 7-1/2 ips
APPENDIX I
Duplicate Tapes in Special Collections
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.
Tape M3.1/P37U5
v. 2
l0" 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
Tape M3.1/P37U5
v. 3
87

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").
Tape M3.1/P37U5
v. 4
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.
88

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
850 6. "Y.D. Fantasy"
Tape M3.1/P37U5
v. 5
10" reel to reel / 7 1/2 ips
4. "Annah the Allmaziful" from 2 Settings from
Finnegan's Wake
5. "Y.D. Fantasy" (bad) [not taped]
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)
Tape M3.1/P37U5
v. 6
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)
Tape M3.1/P37U5
v. 7
89

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)
Tape M3.1/P37U5
v. 8
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
90

Tape M3.1/P37U5
v. 9
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.
Tape M3.1/P37U5
v. 10
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
Brief description
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)
Tape M3.1/P37U5
v. 11
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
91

Brief description
Marshall Tape # 5 Lecture by Harry Partch prior
reels a & b to live performance of Plectra and Percussion Dances.
Marshall Tape # 6 Lecture and demonstrations by
reel a Harry Partch; includes excerpts from The Bewitched.
Tape M3.1/P37U5
v. 12
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.
Brief description
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.
Tape M3.1/P37U5
v. 13
10" reel to reel / 7 1/2 ips
2. Intro. by Partch prior to broadcast of Plectra and
Percussion Dances.
This reel contains duplicates of various tapes in the Marshall Collection,
Harry Partch Archive. Each item is separated by white leader.
Brief description
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 "Discourse" and Intrusions.
reel a
Tape M3.1/P37U5
v. 14
92

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 "Discourse" and Intrusions
reel b
Marshall Tape # 13 The Bewitched
reels a, b, c, & d
Tape M3.1/P37U5
v. 15
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.
93

APPENDIX II
Dissertations and Selected Books and Magazines
in the Music Library Collection (some items
are in Special Collctions)
Augustine, Daniel Schuyler. Four Theories of Music in the United States, 1900-
1950: Cowell, Yasser, Partch, Schillinger. PhD thesis, University of Texas,
Austin, 1979. 616pp.
Cameron, Janet Garcia. Transcriptions of Seven Li Po Settings by Harry Partch
from "Eleven Poems by Li Po." Masters thesis, University of Illinois, 1982.
49pp.
Hackbarth, Glenn. An Analysis of Harry Partch's Daphne of the Dunes. DMA
thesis, University of Illinois, 1979. 259pp.
Kakinuma, Toshi. The Music Instruments of Harry Partch as an Apparatus of
Production in Musical Theatre. PhD. thesis, University of California, San
Diego, 1989. 348pp.
Metz, Paul Wesley. A Study of Harry Partch: With Particular Emphasis on his
Microtonal Tuning System. Masters thesis, University of Cincinnati, 1978.
103pp.
McGeary, Thomas, ed. The Music of Harry Partch: A Descriptive Catalogue.
Nicholl, Matthew James. Harry Partch: "And on the Seventh Day Petals Fell on
Petaluma. Thesis, North Texas State University, 1982. 105pp.
Partch, Harry. Bitter Music: Collected Journals, Essays, Introductions, and
Librettos, ed. Thomas McGeary.
Partch, Harry. Genesis of a Music. First and second editions.
Perlis, Vivian. Harry Partch with Vivian Perlis in San Diego, March 1974.
Typescripts from series of taped interviews.
Sonneborn, Atesh. Corporeality in the Music-Theatre of Harry Partch. Masters
thesis, University of California, San Diego, 1984. 261pp.
Walker, Douglas. The Roots of Meaningfulness: An Investigation into Harry
Parch's Treatment of Speech in his Music. Unpublished typescript (1976).
Wiecki, Ronald. Towards a Biography of Harry Partch: The Wisconsin Years,
1944-1947. Masters thesis, University of Wisconsin, 1988. 66 pp.
Zimmermann, Walter. Desert Plants: Conversations with 23 American Musicians.
Vancouver, B.C.: ARC Publications, 1976. Includes chapter: "Ben Johnston
about Harry Partch."
See also issues of
Soundings
1/1 (One on One)
Interval
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