Finding Aid for Harry Partch Estate Archive, 1918-1991 | The Sousa Archives and Center for American Music

By Tom McGeary, Noah Lenstra, Elizabeth Surles and Scott Schwartz

Collection Overview

Scope and Contents of the Materials

Biographical Note

Subject/Index Terms

Administrative Information

Box and Folder Listing

Series 1: Writings

Sub-Series 1: Writings on musical composition

Contains Partch's writings about his musical compositions, both completed and projected or unfinished. The texts comprise scenarios, scripts or librettos, outlines, and statements for concert programs, record booklets, or record liner notes. These are primarily written materials, but a few musical sketches relating to a work are included as appropriate. Some items have been published in Harry Partch, Bitter Music: Collected Journals, Essays, Introductions, and Librettos, ed. Thomas McGeary (Urbana: University of Illinois Press, 1991), and in facsimile in Enclosures 3, ed. Philip Blackburn (Minnesota Composers Forum, Minneapolis). Folders are designated by a convenient short title. For full descriptions of each work and the versions referred to, see Thomas McGeary's, The Music of Harry Partch: A Descriptive Catalogue. I.S.A.M monograph no. 31 (1991).

Box 1

Folder 1: "Barstow" Harmonization, undated

Harmonization of text of "Barstow", pencil on two leaves

Folder 2: Bewitched (1955 version) (I), 1955

The Bewitched--A Ballet Satire-- introduction, outline and imaginary dialogue for dancers/actors. Numerals in boxes seem cued to rehearsal numbers in score. 21 carbon typescript pages; with some pencil additions

Folder 3: Bewitched (1955 version) (II), 1955

Carbon typescript, 20 pages, "Marin City, California", introduction and scenarios of 10 scenes; this is a set of carbons of text that was used for Bewitched, 1956, Version 2 (see Box 1, Folder 5)

Folder 4: Bewitched (1956 version) (I), 1956

"Statement on the Bewitched Program Notes", Champaign, Ill. two typescript pages

Folder 5: Bewitched (1956 version) (II), 1956

"Some New and Old Thoughts Before and After The Bewitched", endorsed by Partch 1958; 33 typescript pages with pencil additions

Folder 6: Bewitched (1956 version) (III), 1956

The Bewitched: A Dance Satire by Harry Partch, blue ditto copy, 7 pages, argument, prologue and scenarios of 10 scenes and epilogue

Folder 7: Bewitched (1956 version) (IV), 1956

Introduction and scenario, two parts intended as one complete text: (1) The Bewitched; carbon typescript with "Introduction" and "On the Dancing", followed by scene scenarios (breaks off incomplete in the midst of scene 1), paginated 1-3 with pencil additions and revisions, Marin City, California, undated; (2) continuation begins with "Prologue" and continues with scenarios for the 10 scenes (without "Epilogue"); carbon typescript with pencil additions and revisions. The beginning pages of this group seem to be an expansion of the introduction: it is paginated in ink 4-6, then there is typescript p. 4 (whose text continues part (1); typescript pages 4-20 are renumbered in ink 7-23, in this text, the 1955 scene titles have been altered in pencil to those of the 1956 version, with original typescript of pages 1-3.

Folder 8: Bewitched (1956 version) (V), 1956

The Bewitched: A Dance Satire by Harry Partch, two-page black-stencil copy of program or record notes

Folder 9: Bewitched (1956 version) (VI), ca. 1959

The Bewitched: A Dance Satire by Harry Partch, text for program notes (production in 1959), typescript carbon, 4 pages, "Statement", cast, scenario, and scene titles

Folder 10: Bewitched (1956 version) (VII), 1957

8-page booklet (text reprinted from the program of first performance, March 26, 1957) accompanying Gate 5 Records issue of Bewitched, contains "Argument" and scene scenarios; with pencil annotations and additions

Folder 11: "Delusion" - recording (I), 1969

Two sets of timings of recording session takes: (1) one 6-page photocopy, (2) one 2-page set in blue felt-tip pen

Folder 12: "Delusion" - recording (II), ca. 1969

Two sets of editing notes: (1) 4-pages of typescript (Sent to John McClure?); and (2) 10-page pencil set (apparently retyped as set 1)

Folder 13: "Delusion" - synopses (I), 1964

Contains: (1) "Cry from Another Darkness" synopsis and introduction and for what was later titled "Delusion of the Fury", seven, unnumbered typescript pages, Harry Partch / December 30, 1964); (2) "Cry from Another Darkness" synopsis and early introduction for what was later titled "Delusion of the Fury" 7 (numbered/unnumbered) carbon typescript pages, Van Nuys, Calif., (P.O. Box 3253, December 30, 1964)

Folder 14: "Delusion" - synopses (II), 1965

Photocopy of 16-page typescript scenario, "Delusion of the Fury" with pencil additions, corrections, and revisions, "Van Nuys, January 17, 1965" with "Exordium" title penciled in

Folder 15: "Delusion" - synopses (III), undated

"Delusion of the Fury: A Ritual of Dream and Delusion" 1 extra-long typescript carbon page (with "Exordium" included)

Folder 16: "Delusion" - synopses (IV), undated

Photocopy of preliminary typescript scenario and introduction prepared for inclusion in Genesis of a Music (2nd edn), pp. 35/147 - 42-154

Folder 17: "Dreamer that Remains" - outlines (I), ca. 1971-1972

Seven sheets in pencil from spiral-bound notebook, contains among the leaves a 6-page "A Very tentative Verbal outline of music", one leaf is headed "Outline of Music for a Freeman-Pouliot Film Project for 1972: The Dreamer that Remains - A Love Piece -"

Folder 18: "Dreamer that Remains" - outlines (II), 1972

Sets of very tentative verbal outlines: (1) "The Dreamer that Remains: A Study in Loving", 27 May, 1972, 5 typescript pages with pencil additions, corrections, revisions; (2) "The Dreamer that Remains: A Study in Loving", retyped version of (A) extended to 6 typescript pages with several pen corrections and additions; (3) carbon copy of (2) with pencil corrections, revisions, and additions; (4) photochemical copy of (2) with pencil and pen revisions (added to copy)

Folder 19: "Incident at Drake's Bay", 1953

"Incident at Drake's Bay, A Music Drama", pencil draft of scenarios, one page of verso of Harry Partch Trust Fund mailing announcement of "Plectra and Percussion Dances", and typescript version

Folder 20: "Menota Night", ca. 1944-1947

1-page typescript scenario, (probably Madison, Wisc.)

Folder 21: "Oedipus" - translation, undated

Carbon copy of 37 page English translation by [Gordan Churchill]

Folder 22: "Oedipus" (1951 version), 1951

Foreword and text of Partch's original text, carbon typescript, Sausalito, 32 pp.

Folder 23: "Petals", undated

Handwritten items, draft of recording cover text (1 page), 2-page statement about the work, 2 leaves of timings and test of beats, and 1 leaf of ratios for Guitar II

Folder 24: "Petals" - movement titles, undated

Movement titles, Seven lists (A-G) of preliminary movement titles for "And on the Seventh Day Petals Fell in Petaluma," with folder titled "And on the Seventh Day" - notes that contains additional movement titles, these early sets of titles contain fanciful names for the movements and alternate titles for the composition

Folder 25: "Petals" - notes, undated

Notes, 4 leaves of notes in pencil for "And on the Seventh Day Petals Fell in Petaluma"

Folder 26: "Petals" - recording (I), undated

Typescript draft (with pen additions) of liner notes for projected Gate 5 Record of "On the Seventh Day the Petals Fell in Petaluma," 1 typescript page

Folder 27: "Petals" - recording (II), ca. 1966

Outline of verses and Statement ("I want, I try, to live in the Big World") prepared for liner notes for CRI recording (not used), 7 carbon typescript pages with pencil and ink additions, and carbon copy

Folder 28: "Petals" - sketches, undated

Four sheets of rhythmic notes in pencil for "And on the Seventh Day Petals Fell in Petaluma"

Folder 29: "Plectra and Percussion Dances", ca. 1952

"Plectra and Percussion Dances, The Rythmic Motivations of Castor and Pollux and Even Wild Horses", 8 carbon typescript pages, endorsed by Partch, with ink additions and revisions

Folder 30: "Plectra and Percussion Dances - Castor and Pollux", ca. 1963

Castor and Pollux, A Dance for the Twin Rhythms of Gemini, Argument and Instructions on Music and Dance, 2 carbon typescript pages with ink additions and envelope (Calendar numbers for Castor and Pollux) with desk calendar with rows of dates cut out

Folder 31: "Plectra and Percussion Dances - Even Wild Horses" (I), undated

"Even Wild Horses, Dance Music for an Absent Drama", 5 carbon typescript pages with ink additions, introduction and synopses of scenes.

Folder 32: "Plectra and Percussion Dances - Even Wild Horses" (II), ca. 1961

List of French phrases keyed to page numbers, from Rimbauld, A Season in Hell, 4 pencil pages from spiral bound notebook, 2 carbon typescript pages (typed version of above)

Folder 33: Poems by Li Po, Six Lyrics by Li Po, ca. 1940s

4-page (one bifolium) typescript carbon of notes about the work

Folder 34: "Revelation" - argument, undated

Pencil drafts of early arguments for "Revelation in the Courthouse Park": one 3-page pencil draft, one typescript leaf "Argument", one typescript leaf with pencil additions

Folder 35: "Revelation - Incidental Music for Applause", undated

Typescript statement (2 pages) describing "Incidental Music for Applause" to "Revelation in the Courthouse Park" (paginated 30/54 - 31/55), with pencil additions, corrections, and revisions

Folder 36: "Revelation", undated

Mock newspaper (The Centerburg Gazette) front page describing events paralleling "Revelation in the Courthouse Park", one oversize sheet

Folder 37: "Revelation" - notes and drafts (I), undated

Miscellaneous pencil musical composition notes for "Revelation in the Courthouse Park" pencil, 16 leaves

Folder 38: "Revelation" - notes and drafts (II), undated

Pencil sketch of stage in "First Chorus", pencil sketch of fountain, pp. 6 and 9 of carbon typescript description of "Revelation" (with two pen or pencil sketches), pp. 8-10 of typescript description of "Revelation"

Folder 39: "Revelation" - program, undated

Suggested program text for "Revelation in the Courthouse Park", "Argument" (2 pages black and red typescript, with p. 1 also present as carbon), cast, instruments, arguments, and chorus/scene titles (3 typescript pages in black typescript)

Folder 40: "Revelation" - scripts, undated

Typescript of script for "Revel(ation) 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. 61 pp. in red-and-black typescript (composed of top and carbon copies including paste-overs, MS corrections, additions, and revisions)

Folder 41: "Revelation" - statement, undated

Two versions of "Composer's Statement for Revel": One-page typescript with pencil additions, corrections, and revisions; two-page carbon typscript (two sets), 2 pages with pencil annotations on one set

Folder 42: "Rotate the Body" - outlines and notes, undated

"Ball for Gymnasts", excerpts from "Revelation" (2 pages); "Rotate the Body in All Its Planes" musical timings and lyrics (With simple heart and glad regard . . . ) (2 pages)

Folder 43: "U.S. Highball" (1942) - notebook, 1942

Notebook, 4 X 5.5 inch pocket memorandum book carried by Partch on trip to Chicago, containing notations, fragments of overheard conversations, transcriptions, etc., includes memoirs about monophonic works

Folder 44: "U.S. Highball" (1942) - scripts, 1942

Two preliminary scripts for "U.S. Highball": 7 typescript pages with corrections and revisions in pencil, 7 typescript pages plus 1 page in pencil, with envelope labeled "First Drafts of U.S. Highball"

Folder 45: "U.S. Highball" - sketches, 1942

Rhythmic sketches for "Chicago", pencil, 4 leaves

Folder 46: "U.S. Highball" (film) (I), undated

Typescript introduction to film concept, 10 pages, typescript carbon (marked new in pencil)

Folder 47: "U.S. Highball" (film) (II), undated

Introduction to film and shot outline, typescript in red and black, 29 pages with pencil additions, corrections, and revisions

Folder 48: "U.S. Highball" (film) (III), undated

"New Script, U.S. Highball", introduction and shot outline for film, 12 carbon typescript pages with pencil revisions and corrections

Folder 49: Various works (I), undated

Draft scenarios of projected or completed works: "And I'll Tell You My Story", "Dion Isus", "Quick Transit", "The Mock Turtle Song", "U.S. Highball" (rewrite), "Barstow" (rewrite), 3 typescript leaves (with pencil additions) and 1 leaf in pencil (for "Revelation")

Folder 50: "Water! Water!" - program, 1962

Carbon typescript for program for "Water! Water!", 12 pages with pencil additions

Folder 51: "Water! Water!" - script, 1961

Black stencil script of "Water! Water!", apparently Partch's copy of the duplicated script (numbered #81, marked on cover Corrected, 1961) made for use by participants in the production, corrected by paste-overs including one loose, newly-typed sheet (containing alternate dialog between Phoebus and the Producer in Second Prologue), 61 pp. plus one typescript sheet

Folder 52: "Windsong", undated

Materials relating to preparing music for Madeline Tourtelot's film "Windsong": 2-page carbon of Script for suggested "Transformation Sequence", 6-page typescript of shot outline with timings, notes on music, etc., with extensive pencil revisions, three sheets of pencil notes, with one page typescript statement "Windsong" by Madeline Tourtelot

Sub-Series 2: Lecture Texts, Essays, Drafts, Illustrations, and Statements

This series contains Partch's writings (final versions and drafts) on various aspects of his work, tuning, and the relationship between music and culture; some printed materials and graphic works included.

Box 2

Folder 1: Bitter Music - illustrations, undated

Illustrations, musical example, and ink drawings (originals and print outs from microfilm) intended to accompany the published Bitter Music (most not included in printed version), with page from California Highways and Public Works magazine with photographs of work camps at Anderson Canyon and Salmon Creek, California, one related drawing in Box 15

Folder 2: Bitter Music - music example, undated

One original ink musical example to Bitter Music

Folder 3: CBS Bonus Record, October 1970

Introduction to Bonus Record accompanying "Delusion of the Fury" recording, typescripts with pencil corrections and revisions, 3 pages, October 6, 1970, 3 pages, October 10, 1970, one page, October 1970

Folder 4: Artwork, 1937 and 1947

Two drawings/paintings (both by Partch?): "Incertitude and Infinitude" - Twin Rocks, Ore. - watercolor or tempera on cardboard, of male nude standing on beach; "Maguey Plants", as seen on way the Ensenada, Baja California, ink on paper.

Folder 5: "End Littoral" - drawings, undated

Ink drawings (with a few print outs from microfilm) intended to accompany the published journal (none included in printed version), with photograph of cabins overlooking coast, 20 items

Folder 6: Instrument Expense Statement, ca. 1963

Typescript statement of "Expenses of a Research and Experimental - Music-Instrument Project Dating from 1925 to the Present", Petaluma, 8 carbon typescript pages.

Folder 7: Films Introductory Notes, ca. 1962

Introductions to screening of three films ("Rotate the Body", "Windsong", "Revelation"), after ca. 1962 or later, 7 typescript pages, present are p. 1 in original typescript, pages 1-7 in photocopy, with pencil corrections and revisions to original

Folder 8: For John Cage, undated

1 typescript page of a personal statement, with ink title and revisions.

Folder 9: Genesis of a Music (2nd edn), appendices, undated

Typescript drafts of appendices, with pencil additions, revisions, corrections. Appendix I (incomplete), 2 pages, one typescript, one carbon, Appendix I, pp. 1-5, Appendix II, pp. 6 -14, Appendix III, pp 15 - 19

Folder 10: Genesis of a Music (2nd edn) - ch. 12, undated

Typescript draft of new chapter 12, 51-typescript pages with pencil additions, revisions, corrections

Folder 11: Genesis of a Music (2nd edn) ch. 13, 1969

Typescript draft of new chapter 13, 31 August 1969, 46 pp. with pencil additions, revisions, corrections

Folder 12: Genesis of a Music (2nd edn) ch. 14, undated

Typescript draft of new chapter 14, paginated 1. / (113) - 38. - 150, with pencil additions, revisions, corrections

Folder 13: Genesis of a Music (2nd edn), figures, undated

Material for figures for Genesis, two ALS letters from Erv Wilson, mostly photocopies of various versions of the figures as Wilson revised them. (See also Genesis of a Music, 2nd edn. related correspondence in Da Capo Press in Box 5)

Folder 14: Genesis of a Music (2nd edn) preface (I), 1969

(New Preface to Genesis of a Music) / Preface to the Second Edition, carbon typescript, Encinitas, California, 13 pages with pencil and ink corrections; photocopy of above, as copy edited by publisher

Folder 15: Genesis of a Music (2nd edn), preface (II), 1969

New Preface to Genesis of a Music / Preface, photocopy of typescript, 12 pp, Encinitas

Folder 16: Genesis of a Music (2nd edn), preface (III), 1969

Preface, 11 pages with extensive pencil additions, revisions, corrections, dated in pencil 30 May 1969, typescript dated Encinitas, California

Folder 17: Genesis of a Music (2nd edn), preface (IV), 1969

Preface, earliest typescript notes, on slips pasted up to full pages, with extensive pencil additions, revisions, corrections, 11 pages with partial-page slip, with Partch's envelope

Folder 18: Genesis of a Music (2nd edn), preface (V), 1969

Preface, 2 typescript pages, top copy and carbon, with partial-page insert, several pencil corrections

Folder 19: Lecture - Bewitched, 1959

Carbon typescript (Note) for talk before dress rehearsal of Bewitched at the Juilliard School, 9 April 1959, 9 pages, 6 pages of text, 2 pages of comments on slides of instruments, one page for introduction musical examples, all with pencil corrections and revisions

Folder 20: Lecture - Columbia University, 1959

Untitled lecture given at Columbia University 9 April 1959, with examples from Bewitched, 11 typescript pages, with pencil on verso of p. 3, with pencil corrections and revisions

Folder 21: Lecture - University of Hawaii, 1971

Untitled lecture presented at the University of Hawaii 9 July 1971, one page program and seven typescript pages of text, with pencil corrections and revisions.

Folder 22: Lectures - University of Oregon, 1964

Typescripts for lectures presented at the University of Oregon: (1) Feb. 16, 7 typescript pages with ink additions and corrections, introduction to films "U.S. Highball", "Rotate the Body", "Revelation", (2) Feb. 17, 12 typescript pages with ink and pencil corrections and revisions, (3) Feb. 17, 23-pages in typescript original and carbon, both with ink and/or pencil corrections and revisions

Folder 23: Lecture - American Symphony Orchestra League Convention, San Francisco, 1963

Untitled lecture presented at the Palace Hotel, San Francisco, for the American Symphony Orchestra League convention, (notes by Danlee Mitchell). 10 typescript pages with pencil corrections and revisions

Folder 24: Lecture - Pasadena/San Fernando Valley State College, 1964

Untitled lecture script, 9 typescript pages with pencil corrections, originally presented for Pasadena Art Museum 8 February, revised by paste-over to first page for second delivery at San Fernando Valley State College (University of California Northridge), 20 March 1965

Folder 25: Lecture - "Revelation" (I), 1960-1961

Partch's statement to the cast before the first rehearsal of "Revelation in the Courthouse Park" (note by Danlee Mitchell), fall semester, 4 typescript pages

Folder 26: Lecture - "Revelation" (II), undated

Introduction to WILL-TV broadcast of "Revelation", 2 typescript pages

Folder 27: Lecture - San Francisco Art Institute, 1966

Untitled lecture presented at the San Francisco Art Institute 28 November 1966, included presentation of slides and musical examples, 8 typescript pages with pencil additions and corrections

Folder 28: Lecture - St. Louis, 1962

Untitled lecture given at St. Louis 24 April 1962, with introductions to tape ("Revelation") and film ("Rotate the Body"), 6 typescript pages

Folder 29: Lecture - Tanglewood, 1967

Typescript (headed "Introduction to Examples") for lecture presented at Tanglewood, summer 1967, with Partch pencil note "The direction toward which I've been going", 12 pages with pencil corrections and revisions

Folder 30: Lecture - UCLA, 1966

Untitled lecture given at UCLA 1 May 1966, 12 typescript pages plus two versions of 1-page "Demonstration Order", with pencil revisions and corrections, text includes list of titles for movements of "And on the Seventh Day Petals Fell in Petaluma"

Folder 31: Lecture - "Studies", "Petals", "Exordium", "Barstow", "Daphne", and "Castor and Pollux", undated

Introductions or synopses to "Two Studies", "Petals", "Exordium" [from "Delusion"], "Barstow", "Daphne", and "Castor and Pollux", 4 typescript pages, apparently spoken introductions to musical excerpts (supervised by Danlee Mitchell)

Folder 32: Manual on the Maintenance and Repair of--and the Musical and Attitudinal Techniques for--Some Putative Musical Instruments (I), 1963

Ozalid copy, 46 typescript pages on 24 leaves, pp, 1-33, blank, 34-46, blank, main text plus three addenda, pp. 1-33 (Feb. 3, 1963), pp. 34-42 (March 25, 1963), pp. 43-46 (April 12, 1963), with Partch's original folder titled Manual (not the latest draft)

Folder 33: Manual on the Maintenance and Repair of--and the Musical and Attitudinal Techniques for--Some Putative Musical Instruments (II) (revised), 1963

Ozalid copy, "NEW (revised)" written on master, pp. 1-18 appear identical to previous entry, pp. 19-20 of earlier versions expanded to 3 pages, 47 leaves, arranged and glued accordion-format, with corrections on transparent masters and in pencil, index on first page, paginated 1-47

Folder 34: Various Fragments, Notes, and Sketches, ca. 1960-1974

Complete or incomplete fragments, notes, sketches (most in pencil), some represent ideas developed for later compositions, two photocopies, 31 original sheets

Folder 35: Modern Parables, 1933 and 1938

Typescripts of two parables: (1) "A Modern Parable I", three typescript pages, New York City, Spring, 1933, (2) "A Modern Parable II", three typescript pages, Cajon Pass, San Bernardino County, April 26, 1938

Folder 36: Toward a Creative Music, 1953

Typescript of a series of nine talks delivered over KPFA radio, San Francisco from 9 March to 28 March 1953, (see KPFA Program Folio issues): Creativity in Music (p. 1), Education & New Instruments (p.8), Education and the Record Repertory (p. 17), Education and Acoustics (p. 23), The Writers on Music p. 31), Musical Perspectives (p. 37), My Instruments (p. 44), Castor & Pollux (p. 51) [included musical examples], The Oedipus Dance Music (p. 54). 56 typescript pages with pencil corrections, additions, and revisions

Box 3

Folder 1: Music Philosophy and Work of Harry Partch, ca. 1954

6-leaf black stencil booklet titled "Presenting a Resume of the Music Philosophy and Work of Harry Partch, Composer, Instrument Builder, and Player-Theorist"  (another copy in Scrapbook)

Folder 2: Musicians as "Artists", 1947

Essay, 12 typescript pages, Madison Wis., dated in pencil

Folder 3: On G-String Formality, 1946

Seven typescript page essay with pencil and ink corrections and revisions, endorsed by Partch, Madison

Folder 4: Proposal - Typescript of "Proposal for Work in Advanced Studies", ca. 1962

"Proposal for Work in Advanced Studies", Champaign, Ill., 7 carbon typescript pages, proposes to work in Japan

Folder 5: Quarter-Saw Section of Motivation and Intonation, 1967

"Prelude to Talk" and "Introduction to Examples of Intonation", black stencil copy of lecture text, endorsed by Partch, Tanglewood, [i] plus 13 pages

Folder 6: Signs, undated

Two ink-on-cardboard signs, apparently posted at Partch's door

Folder 7: Somewhat Spoof, September 1960

3 typescript page essay with ink corrections, Champaign, Ill., September 1960, reprinted in Bitter Music

Folder 8: Soul Tormented by Contemporary Music, 1957 and 1960

10-page typescript of untitled lecture delivered at University of Illinois, March 24, 1957, as introduction to Bewitched, with introductions to instrument demonstrations, with pencil revisions and corrections, endorsed by Partch, typewritten from tape 4/18/60, elsewhere this lecture is titled "A Soul Tormented by Contemporary Music Looks for a Humanizing Alchemy"

Folder 9: Statement (I) - (I am a traditionalist), 1960

22 May 1960, 2 typescript page

Folder 10: Statement (II) - (I am a traditionalist), 1960

Eight photocopy pages, four pages of typescript statement, and four pages of extracts from printed promotional and publicity material, dated 31 May 1960

Folder 11: Statement (III), 1967

Signed statement about "disposition of [his] instruments and scores", San Diego, 12 March 1967, 3 typescript pages with ink revisions

Folder 12: Statement (IV), 1970

Four-page typescript statement and itemized expenses related to the landlord's irresponsibilities about the workshop at Solana Beach, signed, 21 May 1970

Folder 13: Statement for "Arts in Society", ca. 1967

Three typescript pages with ink corrections, Petaluma, reprinted in Bitter Music as "The University and the Creative Arts, Comment"

Folder 14: University of California San Diego (USCD) - seminar, 1967

Writings about seminar given at UCSD: (1) statement on education, 5 typescript pages with pencil corrections, (2) "My Seminar in Retrospect", 4 carbon typescript pages, (3) typed extracts from comments on students (on their papers or presentations), 5 carbon typescript pages

Folder 15: "Umbilical Cord Still Vibrates", 1952

Essay, Mill Valley, California, 18 typescript pages

Folder 16: WTTW (Chicago), 25 June 1957

Untitled scripts for WTTW television production, lecture and instrument demonstrations: (1) "Tentative WTTW script ideas", 5 carbon typescript pages (2) 10 blue mimeograph pages with pencil additions and revisions, 25 June 1957

Series 2: Personal Papers

Sub-Series 1: Correspondence

Contains Partch's correspondence. Folders are designated by the person or organization corresponded with. Most of the material is in-coming letters. In many cases, though, Partch retained typed carbon copies of his outgoing letters. In some cases, the carbons may represent letters never sent.

Box 3

Folder 17: Tom (Juilliard School), 1959

Correspondence relating to Bewitched performance, two typescript letters (carbons) from Partch

Folder 18: American Symphony Orchestra League (II), 1967

Letter of invitation from, to conference

Folder 19: Amherst College, 1973

Correspondence regarding offer of honorary degree

Folder 20: Arnautoff, Phillip, 1961-2001

Letters from Phillip Arnautoff and photocopies of Partch's replies

Folder 21: BBC, 1967-1970

Correspondence and enclosures between BBC and Partch, originals and carbon copies

Folder 22: BMI, 1953-1974

Correspondence between various persons at BMI and Harry Partch, incl. letters from Carl Haverlin and Oliver Daniel, carbons from Gerd Stern and Harry Partch

Folder 23: Barzun, Jacques, 1952-1968

Correspondence and enclosures between Jacques Barzun and Harry Partch, signed letters from Barzun, carbons from Harry Partch

Folder 24: Bollingen Foundation, 1962

typescript carbon of letter from Harry Partch regarding Peter Yates

Folder 25: Brooks, Jack, 1939

Correspondence from, two postcards and one 3-page handwritten letter

Folder 26: CBS Records, 1966-1972

Correspondence from CBS Records, carbons, lists, and statements from Partch, includes correspondence with and from John McClure

Folder 27: CBS Records - "Delusion of the Fury" Bonus Record, 1970-1971

Correspondence with CBS records and Gene Paul about bonus records, includes 4 drafts for Partch talk for bonus record

Folder 28: CRI - The Bewitched, 1972-1974

Correspondence regarding Composers Recordings, Inc. release of The Bewitched, includes drafts and photocopies of liner notes

Folder 29: CRI - "Petals", 1960-1971

Correspondence and enclosures with various persons at Composers Rrecordings I, mostly regarding production of recording of "On the Seventh Day Petals Fell in Petaluma", carbon of David Hall's program notes, typescript carbons from Partch

Folder 30: Cage, John, 1966-1967

5 items from Cage, one typescript carbon from Partch

Folder 31: Cassandra Foundation, 1969-1970

Correspondence regarding receipt of grant, 2 items

Folder 32: Cinema 16, 1954, 1960, 1965

Letters regarding Kenneth Anger "unauthorized" use of music for the film Inauguration of the Pleasure Dome, letters regarding rentals of Madeline Tourtelot films

Folder 33: Columbia University - The Bewitched, 1953-62

Partch typescript carbons, includes correspondence with Douglas Moore and Henry Allen Moe

Folder 34: Correspondence (I), 1918-1938

Letters from various family members (Paul, VIP) and persons to Partch, 1918-1938, with one letter (1935) sent by Partch, 11 items, including receipt from Malkin for organ

Box 4

Folder 1: Correspondence (II), 1952-1959

Strip of microfilm (plus paper print-outs) of Partch correspondence (mostly from Mill Valley, Sausalito, Calif., and Champaign, Ill.), filmed at University of Illinois April 18, 1960, approx. 42 pages (film and printout)

Folder 2: Correspondence (III), 1953-1974

Mostly typescript carbons from Partch to various persons, includes occasional incoming letter(s), including Irving Sablosky, Gil Evans, Jacqueline Onslow-Ford, William Bowen, La Monte (Young?), an unidentified John (not John Cage [inferred from letter]) regarding an arts institute, Ginny (choreographer of Delusion?), 29 items

Folder 3: Correspondence (IV), 1954-1971

Correspondence with various persons, originals (some photocopies), and typescript carbons of replies from Partch

Folder 4: Correspondence (V), 1951-1972

Unsorted letters and postcards from various persons, originals (some photocopies), and typescript carbons of replies from Partch

Folder 5: Correspondence - Re: articles and reviews, 1953-1973

Correspondence mostly with critics and editors regarding articles and reviews, some Harry Partch carbons, many recognizable critics and columnists

Folder 6: Correspondence - Broadcasts, 1953-1962

Letters and enclosures from radio broadcast personnel

Folder 7: Correspondence - Film, TV, 1957-1972

Correspondence regarding projected film projects, cue sheets (for films), includes prospectus for film of The Bewitched, permissions

Folder 8: Correspondence - Lectures, 1952-1969

Correspondence regarding lecture invitations

Folder 9: Correspondence - Performances, 1970-1973

Letters of inquiry regarding performances

Folder 10: Correspondence - Permissions, 1962-1973

Letters to and from Harry Partch, regarding permissions

Folder 11: Correspondence - unsorted letters (I), 1941-1974

Folder 12: Correspondence - unsorted letters (II), 1964-1974

Folder 13: Correspondence - unsorted letters (III), 1965-1968

Folder 14: Correspondence - unsorted letters (IV), 1969-1973

Box 5

Folder 1: Cronyn, George, 1937

Two typescript letters from Cronyn regarding Partch and the Federal Writers Project, May and June 1937

Folder 2: Current Biography, 1963

Correspondence regarding Partch's biographical entry

Folder 3: Da Capo Press, 1968-1974

Correspondence regarding publication of second edition of Genesis of a Music, typescript carbons of letters from Partch, originals from Da Capo, Plenum, et al., approx. 200pp.

Folder 4: Daniel, Oliver (primarily BMI), 1953-1971

Correspondence with Daniel at CBS Radio, Associated Music Publishers, and BMI, originals from Daniel, typescript carbons from Partch, some letters addressed to Gerd Stern, 44 items. With photocopy of typescript text for BMI brochure (4 pages) (see also BMI file, Box 3)

Folder 5: "Dreamer that Remains", 1972-1975

Letters and enclosures (e.g. publicity materials) to and from Betty Freeman, Stephen Pouliot documenting production of the film Dreamer that Remains

Folder 6: Dulac, Edmund, 1934-1935

Two manuscript letters from Dulac about meeting in London

Folder 7: Dutton and Co., E.P. (Publisher), 1962

Partch requests permission to use translation of Li Po poems

Folder 8: Earls, Paul, 1964-1965

Letters and enclosures

Folder 9: Edmunds, John, 1959-1961

Letters, enclosures, and two Harry Partch carbons

Folder 10: Edwards, Osmon, 1935

Postcard from Edwards (quoted in Bitter Music, p. 32)

Folder 11: Ellsworth, Ray, 1956-1965

Letters and article by Ray Ellsworth, author

Folder 12: Evans, Gil, 1961-1962

Correspondence

Folder 13: Ford Foundation, 1962-1963

Correspondence regarding fellowship application, including 9-page (title page plus 8-page text) typescript carbon of "Proposal for Studies in the Creative Arts"

Folder 14: Freeman, Betty, 1964-1974

Correspondence from Betty Freeman, mostly to Partch, several from Partch and Danlee Mitchell, others to Danlee and other persons

Folder 15: Fromm Foundation, 1956-1972

Letters and enclosers from Paul Fromm, Fromm Foundation, and Harry Partch

Folder 16: Fulbright Commission (fellowship), 1959-1961

Fulbright Commission, regarding application for fellowship

Folder 17: Garland, Peter (Soundings Magazine), 1970-1973

Correspondence

Folder 18: Garvey, John, 1956-1960

Correspondence

Folder 19: Gerdine, Leigh, 1955-1960

Correspondence relating mostly to the 1957 production of The Bewitched at Washington University

Folder 20: Graham Foundation, 1962

Correspondence and grant proposal

Folder 21: Graham, Martha, 1952-1953

Correspondence from Graham about projected collaborative production in New York, two typescript letters

Folder 22: Grayson, John, 1969

Correspondence

Folder 23: Guggenheim Foundation, 1950-70

Correspondence

Folder 24: Hall, David (CRI), 1960-1967

Correspondence, typescript carbons of Partch's letters, 7 items (See also CRI folders, Box 3)

Folder 25: Harrison, Lou, ca. 1954-1992

Includes many of Lou's calligraphic letters

Folder 26: Haverlin, Carl (BMI), 1953-1963

Letters from Haverlin to Partch and Gerd Stern (as President of the Harry Partch Trust Fund or manager of Gate 5 Ensemble), and typescript carbons from Partch and Stern, with one letter to Dean Wall (UIUC Graduate College), 39 items (See also BMI file, Box 3)

Folder 27: Hawkins, Suzy, 1974

Correspondence

Folder 28: Hewitt, Barnard, 1965-1966

Four typescript letters

Folder 29: Hi Fi/Stereo Review, 1960-1961

Correspondence regarding article

Folder 30: Institute of International Education, 1934-1935

Correspondence

Box 6

Folder 1: International Music Council, 1968

Letter (and Partch's reply) enclosing check for Whitney Museum concert, 2 items

Folder 2: Johnston, Ben, 1955-1974

Correspondence

Folder 3: KPFA radio, 1953-1955

Typescript carbon of letter from Partch, three issues of KPFA Program Folio, listing Partch series of talks, Toward a Creative Music

Folder 4: King, Eleanor, 1957

Typescript carbon from Partch asking her to take over Bewitched choreography

Folder 5: Knisely (Driscoll), Bertha McCord, 1933-1934

Two letters including letter from Louis W. Curtis, Los Angeles Board of Education (1933) about supporting her subscription fund for Partch, on version of his letter are names of other subscribers

Folder 6: Kostka, Robert, 1958

Typescript of letter from Partch, regarding choreographer of Bewitched

Folder 7: Koussevitzky Foundation (Library of Congress), 1966-1974

Letters regarding Koussevitzky commission, one Harry Partch carbon

Folder 8: Kvistad, Gary, 1974

Photocopy of Partch letter, Kvistad letter to Madeline Tourtlot, handout by Kvistad for his film presentation at Northern Illinois University

Folder 9: League of Composers, 1944

Letter from Claire Reis

Folder 10: Library of Congress, The Bewitched, 1957

Letter acknowledging Partch's gift of The Bewitched manuscript

Folder 11: Luening, Otto, 1943-1991

Two photocopies (from microfilm) of typescript letters from Partch (1943), two manuscript letters from Luening (1951), with BMI brochure about Luening (1991)

Folder 12: McHugh, Roger, 1969

Letters from McHugh regarding W.B. Yeats, with two typescript pages of extracts from Yeats letters mentioning Partch, with photocopy and typescript transcription of "To Margot" by Yeats

Folder 13: Manoy, Rallou, 1965

Carbon (2 typescript pages) of letter to Manoy, with typescript note to Danlee Mitchell

Folder 14: Marshall, Barry, 1970-1971

Correspondence

Folder 15: Marshall, Lauriston, 1953-68

Correspondence with Lauriston and Lucy Marshall

Folder 16: Mitchell, Danlee, 1962, 1972

Letters, memos, and notes from Partch to Danlee Mitchell

Folder 17: Moldenhauer, Hans, 1959

Correspondence regarding obtaining a score

Folder 18: Moore, Douglas (Columbia University), 1944-1959

Letters, typescript carbons from Partch, typescript originals from Moore, some concerning Martha Graham, 6 items, see also Columbia University folder

Folder 19: National Institute of Arts and Letters, 1953, 1966

Typescript letter from Douglas Moore and typescript carbon of letter from Partch to Leon Kirchner regarding award to Partch

Folder 20: Nikolais, Alwin, 1956-1957

Correspondence with Nikolais regarding Bewitched production at University of Illinois, typescript carbons from Partch, 12 items

Folder 21: Nin, Anais, ca. 1959-1962

Three items, with other printed material about Nin

Folder 22: Onslow-Ford, Gordon and Jacqueline, 1958-1972

Letters from Gordon and Jacqueline Onslow-Ford to Partch and Danlee Mitchell

Folder 23: Pan American Union, 1959-1960

Letters, Harry Partch carbons

Folder 24: Perrett, Wilfred, 1934-1935

Manuscript letters from Wilfrid Perrett

Folder 25: Pouliot, Stephen, 1971-1974

Letters from Stephen Pouliot

Folder 26: Prockelo, Vincenzo, ca. 1962

Typed and handwritten poems by Vincenzo Prockelo

Folder 27: Radiodiffusion: Television Francaise, 1961-1962

Correspondence with Pierre Schaeffer, with letter from L.A. Hiller to Luigi Nono

Folder 28: Record Companies, 1954-1961

Letters from multiple record companies (RCA Victor, MGM, Mercury, Westminster, Columbia)

Folder 29: Records - Correspondence with purchasers (I), 1953-1972

Correspondence with purchasers of Harry Partch's privately-released records

Box 7

Folder 1: Records related correspondence, 1965-1967

Correspondence with purchasers of Harry Partch's privately-released records

Folder 2: Rockefeller Foundation, 1973

Correspondence regarding a bicentennial American composer project, three items

Folder 3: Rockefeller Foundation, 1961-1962

Regarding application for grant

Folder 4: Schell, Linda, 1969-1973

Correspondence

Folder 5: Schlesinger, K., 1935

Two postcards from Kathleen Schlesinger

Folder 6: Schuller, Gunther, 1962

two letters and clippings

Folder 7: Simons, Paul Williams, 1974

Correspondence, enclosures, poetry, and artwork

Folder 8: Sitka Spruce Lumber Company, 1961

Carbon of letter to lumber company

Folder 9: Slonimsky, Nicholas, 1965

Correspondence

Folder 10: Smithsonian Institution, 1969-1970

Carbons, telegrams, letters from James Morris

Folder 11: Source Magazine, 1966-1972

Correspondence with Larry Austin and Art Woodbury

Folder 12: Spencer, Sylvia, 1959-1960

Correspondence, concert program, and grant application

Folder 13: Strouse, Robert, 1974

Correspondence

Folder 14: Thorne, Francis, 1967-1972

Correspondence

Folder 15: Tours, 1966-1976

Address lists and correspondence with persons and institutions regarding proposed tours and performances

Folder 16: Tourtelot, Madeline, 1958-1974

Correspondence and enclosures

Folder 17: U.S. Information Agency, 1957-1960

Correspondence regarding recordings and photos, two copies with annotations by Danlee Mitchell

Folder 18: University of California, Los Angeles - Re: Delusion production, 1965-1969

Correspondence and documents regarding production of Delusion of the Fury, includes carbon typescript copy of (and UCLA Music Department response to) Partch "Statement" about scores and instruments

Folder 19: University of California, San Diego, 1964-1972

Correspondence with UCSD regarding Harry Partch appointment, letters from various administrators, many Harry Partch carbons, exam, expense ledgers

Folder 20: University of Hawaii, 1971

Letters regarding Harry Partch visit

Folder 21: University of Illinois, 1955-1964

Correspondence mostly with administrators regarding Partch's appointments, grants, and activities at the University of Illinois

Folder 22: University of South Florida, 1969

Correspondence regarding possible trip

Folder 23: University of Wisconsin Press, 1952-1971

Correspondence and enclosures regarding first edition of Genesis of a Music (1949), includes requests for reprinting

Folder 24: Valle, Joe (Valle Music Reproduction), 1963-1974

Correspondence and enclosures

Box 8

Folder 1: Yates, Peter - correspondence (I), 1953-1972

Correspondence between Partch and Yates

Folder 2: Yeats, W.B., 1933-1934

Four letters from Yeats, Riverdale, Willbrook, Rathfarnham, Dublin, to Partch, 1933-34, one dated January 6, 1934 (TLS), two undated (one ALS, one TLS), one (TLS) dated August 7

Folder 3: Zilch, Art (Time Magazine), 1963

Correspondence, 3 typescript leaves

Folder 4: Zoller, Buddy, 1934-1935

Correspondence

Sub-Series 2: Personal and Financial Records

Contains Partch's other personal papers and documents, organized by event, film, recording, concerts, productions, projects, or persons of his life and career.

Box 8

Folder 5: A.B. Chase (organ company), undated

Directions for the Care of Your Organ 7-page 6 x 3 1/2 booklet and certificate of warranty (portion of booklet cover and warranty mounted on card)

Folder 6: Address books, undated

Five pocket-sized address books used by Partch

Folder 7: American Symphony Orchestra League (I), 1963

Program of 1963 convention at Sheraton-Palace Hotel, San Francisco (19-22 June 1963) and review of Partch concert

Folder 8: Awards, 1966-1974

Letters announcing awards, several Harry Partch carbons, awards, and lists

Folder 9: Bamboo and Rare Woods, 1960-1971

Correspondence with dealers of tropical woods and bamboo

Folder 10: Bewitched, Nikolais, 1957

Program and notes for Alwin Nikolais production of Bewitched at the Henry Street Playhouse, 11-13 October 1957

Folder 11: Bewitched - Programs of 1959 performances at Illinois and Columbia University, 1959

Two programs

Folder 12: Biographical documents, 1919-1966

Records of birth (not original birth certificate), Partch's pencil list of residences, leases, seaman certificates, high school transcripts, photocopy of UCSD biographical form, 10 items

Folder 13: Burt, Warren, Nov. 1982

The Music of Harry Partch, 43-pages booklet from Discussion Services Notes

Folder 14: Couper, Mildred, undated

Four photographs, photocopy of a Santa Barbara newspaper article about Couper

Folder 15: Estey Organ, 1960

Correspondence and materials regarding reed organs

Folder 16: Gate 5 Records, undated

Draft text for announcement

Folder 17: Gate 5 Records brochure, ca. 1956-1962

4-page stencil brochure for issues nos 3-6, Champaign, Illinois

Folder 18: Gems from My Scrapbook, undated

"Gems from My Scrapbook 1930-1957", Harry Partch, ten pages of typescript extracts from articles and reviews about Partch, transcribed from his scrapbook

Folder 19: Harry Partch Foundation, 1969-71

Correspondence and documents (minutes, Articles of Incorporation) regarding establishing of Foundation to support his work

Folder 20: Harry Partch Trust Fund, 1953-1954

Account book for Trust Fund recording projects

Folder 21: Instruments - Shipping of, 1956-69

Shipping inventories, invoices, some Harry Partch lists

Folder 22: Instruments - technical data, ca. 1964-1970

Specifications, dimensions, materials, diagrams of musical instruments (mostly bamboo marimba, cloud chamber bowls, and quadrangularum reversum), originals in pencil, and some photocopies

Folder 23: Insurance - Health, 1968-1973

Health and disability insurance correspondence and forms

Folder 24: Insurance, 1960-65

Automobile, life, and instrument insurance

Folder 25: Johnston, Ben - ASUC symposium, 1967

Black stencil copy, 3 typescript pages, text introducing presentation of a taped lecture by Partch (after April 1967), ASUC symposium, Tanglewood

Folder 26: Johnston, Ben - "Harry Partch" (I), 1967

"Harry Partch", black stencil copy of lecture text (Harry Partch endorsed, Tanglewood, 1967), 4 pages

Folder 27: Johnston, Ben - "Harry Partch" (II), undated

Photochemical copy of 5-page typescript biographical outline of Partch and his career

Folder 28: Medical Charges, 1973-1974

Notebook titled "Income Tax for '73" with lists of medical expenses, and income, copy of letter from Walter L. Johnson MD to Harold Frank MD describing Partch's medical history

Folder 29: Mitchell, Danlee - "Partch Film Lecture", undated

Text of Danlee Mitchell lecture introducing screening of films, Music Studio, Windsong, Rotate the Body, 7 typescript pages, with pencil annotations

Folder 30: "Oedipus", 1954

Photocopy of program for Sausalito Regatta Children & Arts Fair (as program for Partch "Oedipus" performance), 11-12 September 1954

Box 9

Folder 1: "Oedipus" Trust Fund, 1953-1954

Proposals, budgets, correspondence (Gerd Stern) about proposed subscription fund for issuing "Oedipus" recording, 5-page typescript prospectus plus 5 additional items

Folder 2: Partch poems, 1962-1964

Three poems written to or about Partch

Folder 3: Partch, Paul, ca. 1951

Two drawings by Paul Partch, photocopy of Paul Partch obituary and first page of Partch letter describing Paul's final illness, with photocopy of page of letter from Paul, 30 July 1951

Folder 4: RCA, 1957-1963

Correspondence, record labels, carbon copies, and shipping notes relating to pressing of recordings by RCA

Folder 5: Receipts, 1970-1973

Folder 6: Records - Labels, jackets, flyers, brochures, printing of -, 1953-1964

Correspondence with printers and suppliers, printed labels

Folder 7: Record pressing and manufacture correspondence, 1951-1958

Documents and carbon of letters regarding record production and manufacture

Folder 8: Record timing lists, undated

Harry Partch's lists of record timings

Folder 9: Records and tapes - Inventories and lists, undated

Lists and inventories of records and tapes, manuscript lists of records and tapes (these lists identify acetates and tapes that Marshall later gave to the Partch Archive)

Folder 10: "Rotate the Body" - NCGC, 1961

National Collegiate Gymnastics Championships program booklet, UIUC, 1961, at which Rotate the Body was performed, folder flap with Partch's label included

Folder 11: Soundboards/Cimbalon, 1963

Brochure, correspondence and photocopies regarding soundboard material

Folder 12: Taxes, 1972-1973

Documents, notes, and letters regarding taxes

Folder 13: Taxes, 1973-1974

Documents and letters to accountant regarding taxes

Folder 14: Taxes - California tax records, 1953-1973

Folder 15: Taxes - Income, 1951-72

Carbons of letters to accountants and other tax documents

Folder 16: Tourtelot, Madeline, brochures, undated

Copies of Tourtelot film brochures and poster

Folder 17: "U.S. Highball" - Record Brochure, 1958

Brochure for subscription to the Third Harry Partch Subscription Fund recording of "U.S. Highball", 1 July 1958

Folder 18: University of Illinois - Contemporary Arts Festivals, 1957, 1961

Publicity materials about festivals at which Partch's works were produced

Folder 19: University of Wisconsin, 1945

Carbon of memo from faculty in support of Partch

Folder 20: Venice, Calif. - Music Studio, 1964-1965

Carbons of letters and itemizations of expenses regarding remodeling of studio

Folder 21: "Water! Water!" correspondence, expense ledgers, vouchers, and agreement, 1960-1962

Documents relating to production at University of Illinois

Box 10

Folder 1: Music Studio Announcement, ca. 1959

Announcement for Music Studio - Harry Partch, a film by Madeline Tourtelot, at Festival of Contemporary Arts, University of Illinois

Folder 2: Ledger, 1962-1974

Account/ledger book listing purchasers of Gate 5 recordings

Item 1: Ashtray, undated

Made by Partch from bamboo section

Item 2: California, A Guide to the Golden State, 1939

Compiled and Written by the Federal Writers' Project of the Works Progress Administration for the State of California. American Guide Series (New York: Hastings House, 1939). Inscribed on front fly-leaf: Harry Partch, August 14, 1939

Sub-Series 3: Scrapbooks

Partch's personal scrapbook, 1930-1968, in two volumes. Contains newspaper clipping and magazine articles about Partch; many are reviews, promotional articles, or profiles. Pasted onto over-size leaves in chronological order.

Box 16

Item 1: Wooden Cover, Volume I, 1930-1959

Item 2: Wooden Cover, Volume II, 1960-1969

Box 18

Folder 1: Scrapbook Volume I, 1930-1950

Folder 2: Scrapbook Volume I, 1950-1955

Folder 3: Scrapbook Volume I, 1956-1959

Folder 4: Scrapbook Volume II, 1959-1961

Folder 5: Scrapbook Volume II, 1962-1965

Folder 6: Scrapbook Volume II, 1965-1969

Series 3: Music Score Manuscripts

Consists of autograph (pencil or ink) scores, drafts, and blue-line (ozalid) copies of Partch's musical compositions. The designation "( = HPCat )" indicates those items 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. See this publication for further information about the compositions and their versions.

Box 11

Folder 1: "U.S. Highball" (FS, P), 1943-44

Ink-on-paper score (and chromelodeon part) of "U.S. Highball" (second version, HPCat 35B). Score with numerous pencil additions, cuts, comments, paste-overs, etc. Score on 70 pages, chromelodeon part (also with additions, cuts) on 45 pages

Folder 2: "Y.D. Fantasy" (FS, P), 1944

Full score and parts for "Y. D. Fantasy" (HPCat 40) plus second 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. 22 pp. in ink and pencil

Folder 3: "Polyphonic Recidivism on a Japanese Theme" (FS), 1945

Full score for "Polyphonic Recidivism on a Japanese Theme" (HPCat 21). Ink score. 3pp

Folder 4: "Two Psalms" (Version B) (FS, P), 1943-1955

"Two Psalms": (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" (1955 version). 13pp, score in ink and pencil

Folder 5: "Two Settings from Finnegans Wake" (FS, P), 1944

Full score and parts to "Two Settings from Finnegans Wake" ( HPCat 31). 17pp. in ink

Folder 6: "San Francisco" and "Letter from Hobo Pablo" (FS), 1943-1955

Original ink-on-paper score, with later pencil additions made in 1955 for enlarged instrumentation. 6 leaves. San Francisco ( HPCat 26A), Letter ( HPCat 15A)

Folder 7: "Dark Brother" (FS, P), 1942-1943

Ink-on-paper score (HPCat 8B) with parts for voice, viola, and kithara, with pencil addition for Bass Marimba part. 8 leaves of parts, score on 13 pages

Folder 8: "U. S. Highball" (FS), 1943

Full score of first version of "U.S. Highball" (Feb. - March 1943) ( HPCat 35A). 64pp in pencil

Folder 9: "14 Intrusions" (FS, P), 1946-1955

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)

Folder 10: "Seventeen Lyrics of Li Po" (FS), undated

Li Po settings (version E) as notated in ratios and Chromelodian notation, (as described in The Music of Harry Partch, A Descriptive Bibliography, pp. 86-89).: nos. 1-9 (p. [1] contains fragment of pencil Bowls solo from "Even Wild Horses", Act 3, scene 2 (information provided by Danlee Mitchell, 12-31-1993); nos. 11-17. Note: "A Dream" (no. 10), original india-ink-on paper score, notated all in ratios on blank paper, originally in folder 10, is now in box 15, folder 4.

Folder 11: "Mock Turtle Song" (draft), 1954

Pencil draft for full score of "Mock Turtle Song" from "Two Settings from Lewis Carroll" (HPCat 32/1). 15pp. in pencil (torn from 8 1/2 x 7 spiral-bound music notebook)

Folder 12: "Potion Scene" (draft), 1931-1955

"'Potion Scene' from Shakespeare's Romeo and Juliet", 16 pages of draft in black and red pencil, numerous performance and interpretive directions, inscribed; rewritten at Gate 5, 10 July 1955, draft for score of second version (cat. no. 22, version b)

Folder 13: "U.S. Highball" (FS), 1955

Pencil draft of full score of enlarged instrumentation for "U.S. Highball" (HPCat 35C), plus three sheets of instrument tunings. 50 pp. in pencil

Folder 14: "Ulysses Departs from the Edge of the World" (draft), 1955, 1958

Pencil draft of score of original, first version (Cat. no. 34, version a), with numerous interpretive notes, inscribed Harry Partch, Gate 5. July 20, 1955 (12 pages); pencil parts for "Ulysses" as recorded in Evanston, IL, in 1958, for alto and baritone sax. Two parts on four pages, nineteen numbered, braced systems for chromelodeon, alto and baritone sax, and diamond marimba parts and 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)

Box 12

Folder 1: "Windsong" (draft), undated

Small music notebook containing pencil drafts for musical scenes, each scene with title, cues to film, instrument tunings, indications of performers, tape speed, 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]; 47 pages of draft score

Folder 2: "Bless This Home" (draft), 1961

Pencil sketch of full score. 3pp in pencil

Folder 3: "Water! Water!" (FS), 1961

Pencil draft of full score for "Water! Water!" 117pp.

Folder 4: "And on the Seventh Day Petals Fell in Petaluma" (FS), 1964

Pencil draft of full score. 40pp. in pencil.

Folder 5: "Revelation in the Courthouse Park" (FS), undated

Pencil draft of full score, pencil voice parts, pencil sketch of "Deep Inside", and original pencil manuscript of "Rotate the Body". approx. 250 leaves for full score, part 1 of 2, plus additional ca. 35 leaves

Folder 6: "Revelation in the Courthouse Park" (FS), undated

Pencil draft of full score, pencil voice parts, pencil sketch of "Deep Inside", and original pencil manuscript of "Rotate the Body". Part 2 of 2, approx. 250 leaves for full score, plus additional ca. 35 leaves

Box 13

Folder 1: "Delusion of the Fury", 1965-1966

Pencil draft of full score (HPCAt 10), plus related 20pp of sketches. 188pp. in pencil

Folder 2: "Oedipus", 1951-1954

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 or prepatory to final (third) version of "Oedipus". 131pp.

Folder 3: "Windsong", 1958

Blue-line copy of final score for "Windsong", with Partch's pencil notes for later instrumental "concert version" ["Daphne of the Dunes"], 19 pages

Folder 4: "Ulysses Departs from the Edge of the World" (FS, P), 1955

Blue-line copy of first-version score, except for Partch's manuscript title on first page, no manuscript additions. 11 pages. Also, Bb trumpet part prepared by Jack Logan

Folder 5: "Ulysses Departs from the Edge of the World," 2nd version (FS), 1955

Blue-line copy of score, second version, title page and 7 pages. No manuscript additions

Folder 6: "Ulysses at the Edge of the World," 3rd version (FS, P), undated

Two blue-line copies of score, third version, (second copy with system numbers in red pencil) with parts for Eb baritone sax and Eb alto sax. No other manuscript additions. 9 pages (for each score) and two parts in Partch manuscript comprising 6 pages. Also, parts (4 pages) for Eb baritone sax prepared by Jack Logan, 1974

Folder 7: "Eleven Intrusions" (FS), 1950

Blue-line copy of score with numerous pencil or ink markings, annotations, revisions, corrections, especially for nos. 1-2. 22 pages

Box 14

Folder 1: "Monophonic Cycle" cover, undated

Cover only

Folder 2: "Oedipus" (FS), 1951, 1954

Blue-line copy of full score of second version of Oedipus with Partch's pencil corrections, additions, revisions, type-script paste-overs (carbon copy), prepatory to preparing final (third) version of composition. 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

Folder 3: "Delusion of the Fury" (FS), 1965-1966

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

Box 15

Folder 1: Images from Bitter Music, undated

Labelled as "Oversize folder"

Folder 2: Study for Harmonic Canon I and Kithara I (FS), undated

Pencil draft on one bifolium (t.p. and 3 pp. score); one loose sheet, part for Kithara I in pencil, bass marimba part for "Castor and Pollux" in ink

Folder 3: "Seventeen Lyrics by Li Po" (version A), undated

Li Po settings as notated on 5-line staffs with added ratios: "On the City Street"; "An Encounter in the Field"; "The Intruder" (as described in The Music of Harry Partch, A Descriptive Bibliography, p. 79); Pencil drafts for "Before the Cask of Wine" and "By the Great Wall" on one leaf; Incomplete draft of "A Dream", ink and pencil, one leaf; Incomplete draft of "On Hearing the Flute in the Yellow Crane House", one leaf (without added ratios)

Folder 4: "Seventeen Lyrics by Li Po" (version B), 1930-1932

Seven Li Po settings (A - G ) notated using ratios on unlined paper, (as described in The Music of Harry Partch, A Descriptive Bibliography, pp. 80-81): "The Long-Departed Love"; "On Ascending the Sin-Ping Tower"; "In the Springtime on the South Side of the Yangtze Kiang"; "The Night of Sorrow"; "On Hearing the Flute in the Yellow Crane House"; "On Hearing the Flute at Lo-cheng One Spring Night"; "A Dream". Note: "A Dream", formerly in box 11, folder 10, and grouped with "Seventeen Lyrics by Li Po" (version E), and described as incomplete, is now properly placed in Folder 4 (manuscript is now complete). On p. [10] of "A Dream" is a pencil transcription by Partch of text of "Christopher Columbus" by Filson Young (pub. Grant Richards, London)

Folder 5: "Seventeen Lyrics by Li Po" (version C) (FS), 1931-1933

Li Po settings notated on double-lined staffs, (as described in The Music of Harry Partch, A Descriptive Bibliography, p. 82): "A Midnight Farewell" and "On Seeing Off Meng Hao-jan", 3 pp of score on three oversize leaves (two leaves are glued back-to-back); "On the Ship of Spice-wood" and "With a Man of Leisure", 6 pp of score on six oversize leaves (all leaves are glued back-to-back)

Folder 6: "Seventeen Lyrics by Li Po" (version D) (FS), 1933

Li Po settings as notated using note heads with diacritical marks: "By the Great Wall", ink-on-paper score, (as described in The Music of Harry Partch, A Descriptive Bibliography, p. 85). Examination of the original manuscript provides a corrected description (now reflecting pages that were not microfilmed). Contents: p. [i], dedication to Richard Buhlig, [1:2], dedication and score, [3], key to diacritical notation and ratio.; Pencil drafts for "Before the Cask of Wine" and "By the Great Wall", on one and one-half leaves.; Pencil draft for "I am a Peach Tree", one-half leaf

Folder 7: "Two Psalms", 1932

Notated in ratios on unlined paper: "By the Rivers of Babylon" (version A), (as described in The Music of Harry Partch, A Descriptive Bibliography, p. 33.); "The Lord Is My Shepherd" (version A), (as described in The Music of Harry Partch, A Descriptive Bibliography, pp. 66-67)

Folder 8: "The 'Potion Scene'" from Romeo and Juliet, undated

Notated in ratios on blank paper: "The Potion Scene" from Shakespeare's Romeo and Juliet (version A), (as described in The Music of Harry Partch, A Descriptive Bibliography, p. 95)

Folder 9: Southwest Indian music transcriptions, ca. 1933

Partch's working draft transcriptions of southwest Indian and Mexican songs, some from recordings at the Southwest Museum, Pasadena. (See Richard Kassel, "Harry Partch in the Field, Native American Influences on his Music", Music Works 51, Autumn 1991, 6-15): (1) Pencil transcriptions on double-lined staffs: "Luiseno War Dance", pencil introduction by Partch about the transcriptions [continued on next item]; "Hoopa War Song"; "Cahuilla Bird Dance Song"; "Hoopa Brush Dance Song"; "Hoopa Stick Game"; (2) Pencil draft transcriptions on five-lined staffs (with no indications of microtonal inflections), three leaves of drafts and notes for numerous Indian and Mexican melodies, sources of most are identified, one leaf is dated April 13, 1933); (3) One page (of bifolium) of Lou Harrison's ink copy of Partch transcriptions (From Harry Partch / Indian musics), on five-line staffs (with no indications of microtonal inflections): Hoopa Stick Game, Cahuilla Bird Dance Song, Cahuilla Feather dance, Cahuilla General Dance. With envelope mailed to Partch from G. Herzog, New York, 1936

Folder 10: Intonation Examples, 1967

Two sets of numbered, short extracts (from identified compositions or theoretic sources) illustrating examples of intonation

Folder 11: "Dreamer that Remains" (FS), 1972

Blue-line copy (1 of 2) 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"). Cover and 37 pages

Folder 12: "Dreamer that Remains" (FS), undated

Blue-line score (2 of 2, with systems numbered in red), score incorporates revisions as called for on previous score. Partch's label "Last Dreamer". Cover and 37 pages

Series 4: Films, Tapes, Photographs

Sub-Series 1: 16-mm films

Box 17

Reel 1: Rotate the Body, undated

Reel labeled: # 4501, Creative Films, Rotate the Body, Ans Print, 7" reel

Reel 2: Music Studio, Harry Partch, undated

Reel labeled: Music Studio - Harry Partch, print no. 8, Creative Films, eighth print, 10 1/2" reel

Reel 3: Windsong, undated

Reel labeled: Windsong, For Harry, With love, Madeline, Madeline Tourtelot print 1, 10 1/2" reel

Reel 4: U.S. Highball, undated

Reel labeled: U.S. Highball, Creative Films, 2719 Sheridan Road, Evanston, Illinois, print #1, 12" reel; Note by Tom McGeary: first copy of Madeline Tourtelot original

Reel 5: The Music of Harry Partch, September 1974

Reel labeled: KPBS Television 15, FM Radio 89.5, Sand Diego, Electroprint optical track, new print, 12" reel. Note by Danlee Mitchell: "This film was copied from a mag stripe original and is slightly fast. The voices sound high; if machine is adjustable, slow down to make voices lower and more natural."

Sub-Series 2: Photographs

These folders contain groups of photographs, slides, or negatives, grouped by production, place, or photographer.

Box 9: Photographs

Folder 22: "Delusion of the Fury", 1969

Photographs of UCLA production

Folder 23: "Dreamer that Remains", 1972

Photographs taken at time of filming "Dreamer that Remains"

Folder 24: Gualala, CA, ca. 1948-1951

Folder 25: Instruments (I), ca. 1966-1973

35-mm slides taken by Danlee Mitchell, San Diego, studio

Folder 26: Instruments (II), 1969

B&W negatives, July-October 1969

Folder 27: Photographs, undated

Unsorted photos, B&W, color, some identified

Folder 28: "Water! Water!", 1962

Photographs of University of Illinois production

Folder 29: WTTW-TV (Chicago), 1957

Photographs during taping of TV program

Sub-Series 3: 1/4 inch reel-to-reel tapes

Box 19

Reel 1: Peter Yates lecture, undated

Labeled: Peter Yates KPFK Lecture, no. 1, 7" reel, 2 of 2

Reel 2: UCLA lecture, May 1966

Lecture recital by Partch at UCLA, reel labeled: (1) demonstration of instruments, (2) lecture, 7 1/2 "

Reel 3: Partch lecture on Bewitched, March 1957

Lecture by Partch about The Bewitched, 7" reel (Danlee Mitchell's copy)

Reel 4: Partch Hawaii Lecture, July 1971

Lecture by Partch at the University of Hawaii, July 9, 1971, 1 of 2

Reel 5: University of Hawaii lecture, 1971

Lecture by Partch at the University of Hawaii, July 9 (two 7-inch reels)

Reel 6: Harry Partch Talks, undated

Three lectures, 7" reel (Danlee Mitchell's copy): "Plectra and Percussion Dances," KPFA; "Oedipus," KPFA; Bewitched, WNYC

Reel 7: "Revelation" rehearsal, 1960

Reel labeled: Partch, first rehearsal of "Revelation," 7" reel, Note by Tom McGeary: tape of first rehearsal at the University of Illinois, conducted by John Garvey

Reel 8: Partch Memorial meeting, September 1977

Harry Partch Memorial meeting, at Lou Harrison's mother's home, Redwood City. Those present include Betty Freeman, Danlee Mitchell, Jack Larson, Steve Pouliot, 7" reel

Reel 9: Paul Simons sings Bewitched, May 1979

Paul Simons singing Witch parts from Bewitched, May 27, 1979, 5" reel

Box 10

Reel 1: The Letter, film track, 1972

Adaptation of "The Letter" for "Dreamer that Remains," film, summer 1972, 7" reel (Danlee Mitchell's copy)

Reel 2: Peter Yates interview, June 1960

Harry Partch interviewed by Peter Yates, June 9, 1960, 7" reel

Reel 3: Gene Paul interview, 1970

Harry Partch instrument interview with Gene Paul, Encinitas, CA, May 30, 1970, 7" reel, duplicate copy (with enclosed content notes by Philip Blackburn)

Reel 4: Peter Yates lecture, undated

Lecture by Peter Yates, The American Experimental Tradition, (KPFK radio talk?) 7" reel, 1 of 2