Finding Aid for Music and Performing Arts Library Harry Partch Collection, 1914-2007 | The Sousa Archives and Center for American Music

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

[Printer Friendly] | [ Email us about these papers]

Collection Overview

Title: Music and Performing Arts Library Harry Partch Collection, 1914-2007

ID: 35/3/82

Primary Creator: Partch, Harry (1901-1974)

Other Creators: Cutler, Jean (1927-2010), Johnston, Ben

Extent: 23.1 cubic feet

Arrangement:

Series 1: BMI Collection consists of the complete contents of their publicity file about Partch; given in December 1987.

Series 2: Jean Cutler Collection consists of a group of materials documenting Jean Cutler's association with Partch from 1962 to 1970; collection purchased from Jean Cutler in June 1996.

Series 3: Oliver Daniel Collection consists of photocopies (and some originals) of correspondence and articles between and about Partch and Daniel; obtained ca. 1988.

Series 4: Betty Freeman Collection consists of recordings of rehearsals, performances, and interviews, correspondence, transcripts, and publications; the bulk of the collection was donated in January 1979, with supplements in later years, especially 1999.

Series 5: John Simon Guggenheim Memorial Foundation Collection consists of photocopies of materials in the John Simon Guggenheim Memorial Foundation files.

Series 6: Barnard Hewitt Collection consists of original materials from Barnard Hewitt ; given in 1978.

Series 7: Robert Kostak Collection consists of original materials; purchased from Kostka in November 1987.

Series 8: Lynn Ludlow Collection consists of original and photocopies of brochures, programs, announcements, newspaper and magazine clippings; given in April 1989.

Series 9: Lauriston C. Marshall Collection consists of materials relating to Harry Partch; given to the University of Illinois Music Library by Larry and Lucie Marshall between 1976 and 1980.

Series 10: Danlee Mitchell Harry Partch Collection consists of personal materials relating to Partch; Donated in 1991 on the occasion of a commemorative concert to honor the retirement of Jack McKenzie as Dean of Fine and Applied Arts at UIUC.

Series 11: Stephen Pouliot Harry Partch Collection consists of materials given to the Archive by Stephen Pouliot, in 1990 and 1998.

Series 12: Peter Yates Harry Partch Collection consists of photocopies of materials available in the University of California, San Diego's Mandeville Special Collections Library's Peter Yates Collection.

Series 13: Subject Files consists of original materials collected or created for the Archive, not part of individual collections above.

Series 14: Musical Scores consists of blue-line original or photocopies of Partch autograph scores; assembled from various sources.

Series 15: Photographs consists of photographic material (slides, prints, and negatives transferred from various collections and/or folders.

Series 16: Bibliography Project files consists of originals or photocopies of articles (or sections in books) published about Partch.

Series 17: Oral History Tapes consists of recordings of interviews with or about Partch.

Series 18: Performance Tapes consists of recordings of performances and lectures.

Series 19: Microfilms, slide strips, video tapes and films consists of items in the titular formats.

Series 20: Philip Blackburn Harry Partch Collection consists of materials collected and created by Philip Blackburn in relation to his INNOVA and Enclosures products devoted to publishing materials about Partch under the auspices of the American Composers Forum, Minneapolis.

Series 21: Kenneth Gaburo Papers consist of materials related to The Bewitched and had been in the possession of Philip Blackburn, as part of his INNOVA and Enclosures publication project; transferred to the archive in April 2008.

Series 22: Oversize Materials consists of photograph and posters of Harry Partch and his instruments.

Series 23: Madeline Tourtelot Harry Partch Collection consists of Madeline Tourtelot's own cassettes, tapes, and a book that had been given to Philip Blackburn in relation to his Enclosures publishing project; transferred to the Partch Archive in April 2008 as part of Blackburn's donation of his Enclosures material.

Series 24: Duplicate Tapes consists of 15 1/4" audio tapes made as listening copies by the Music and Performing Arts Library's Special Collections department. These tapes were transferred from MPAL Special Collections in April, 2015, and correspond to the tapes listed on pages 87 to 93 of the 2005 Harry Partch Guide to the Collection linked in Administrative Information.

Date Acquired: 00/00/1975. More info below under Accruals.

Subjects: Compositions-Music, Instrumental music, Photographs

Formats/Genres: Financial Records, Motion Pictures/Videotapes, Newspaper Clippings, Sound Recordings

Scope and Contents of the Materials

Consists of books, music, films, personal papers, artifacts and sound recordings collected by the staff of the Music and Performing Arts Library and the University of Illinois School of Music documenting the life and career of Harry Partch, and those associated with him, throughout his career as a composer and writer.

Biographical Note

Born in Oakland, CA in 1901, Harry Partch was an American composer, theorist, instrument designer and performer. He is best known for the work he did with just temperment: developing a 43 tone octave scale, writing pieces to showcase it, and building instruments upon which it could be played. His musical knowledge was largely self-taught and his interest in intonation emerged out of microtonal experimentation conducted on string instruments. Many of his thoughts on the matter are outlined in his 1947 treatise, Genesis of a Music.

By the early 1950s, he had established the Gate 5 Ensemble and record label and begun a musical partnership with fellow composer Ben Johnston that would take him to the University of Illinois in 1956, where Johnston was then teaching. While at Illinois, Partch premiered his large stage work, The Bewitched, as part of the Festival of Contemporary Arts and also composed and had performed the stage works Revelation in the Courthouse Park and Water! Water! He returned to California in 1962 where he completed his last project, the text and music for a film, The Dreamer that Remains before his death in 1974.

Subject/Index Terms

Compositions-Music
Instrumental music
Photographs

Administrative Information

Repository: The Sousa Archives and Center for American Music

Accruals: Many accruals between 1975 and 2015, both in the form of individual collections and individual items.

Acquisition Source: Donation and acquisition

Acquisition Method: In 1975 the Music and Performing Arts Library acquired a set of scores reproduced from Partch's vellum masters through Irv Wilson. The Music and Performing Arts Library Harry Partch Collection was created in 1978 by Professor Ben Johnston and Thomas McGeary for the purpose of collecting relevant material documenting the life and musical work of Harry Partch. The impetus for the Collection was a donation by Lauriston C. Marshall of a group of tapes, recordings, documents, and letters. Over the following decade, many more accretions were added to the archive. Much of the work of collecting, organizing, and cataloging the material has been make possible through a generous grant to the Archive made by Betty Freeman in 1986.

Box and Folder Listing

Series 1: Broadcast Music Inc. (BMI) Collection

Complete contents of Broadcast Music, Inc. publicity file about Partch; given in December 1987.

Box 1

Folder 1: Correspondence with BMI, largely about obtaining collection, 1987
Folder 2: Scenarios for The Bewitched, ca. 1956: 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.)
Folder 3: Concert programs and recording brochures, ca. 1958-1963
Folder 4: Program and press release for Whitney Museum Concert, September 1968
Folder 5: Newspaper and magazine clippings, 1957-1968

Series 2: Jean Cutler 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. Especially important are the typescripts of various unpublished writings by Partch, and the folder of documentation for the University of Illinois production of "Revelation", which Cutler choreographed. Both appear to be unique and very important sources. NOTE: Some of the Jean Cutler Collection not related to Partch has been described as a separate record group, see the finding aid for the Jean Cutler Theatrical Films, Audio Recordings and Papers, 1959-1995 to access this material.

Box 1

Folder 6: Correspondence, undated: Correspondence regarding obtaining the collection, including Cutler's summaries of contents of 1/4" audio tapes and inventories of his collection
Folder 7: Scenario for "Delusion of the Fury", undated: (16 pp.), with several timings added in ink
Folder 8: "American Musical Tendencies by Harry Partch", 1947: 6 unnumbered pp.
Folder 9: "A Modern Parable", 1933 and 1938: (1) Typescript carbon of essay "A Modern Parable -- I" (3 pp.) dated "New York City, Spring, 1933." (2) Typescript carbon of essay "A Modern Parable -- II" (3 pp.) dated "Camp Devore, Cajon Pass, San Bernardino County, April 26, 1938"
Folder 10: "A Somewhat Spoof", 1960: Typescript carbon of Harry Partch's essay (3 pp.) dated "Champaign, IL, September 1960"
Folder 11: "U.S. Highball: Introduction to a Film Script", undated: 11 pp., by Harry Partch, Petaluma, California
Folder 12: "Prelude to a Talk" with "Introduction to Examples of Intonation", undated: Includes a general discussion of Harry Partch's musical ideas with commentary on short recorded excerpts of music (14 pp.), with paste overs and pencil corrections. (On back of last page, is Danlee Mitchell's address at San Diego State College)
Folder 13: "Cry from Another Darkness", 1964-1965: Dated "Van Nuys, Calif., December 30, 1964". (7 pp.) With Partch's letter to Jean Cutler (January 4, 1965)
Folder 14: Scenario to "Revelation in the Courthouse Park", 1959: (27 pp.) dated "September 5, 1959"; scenario includes sketch of fountain, and stage-floor plan for Chorus I; other ink descriptions or vocal lines
Folder 15: Columbia Records Bonus Recording, "The Wild Sounds of New Music", undated: Copy of Columbia Bonus Record (6 3/4" black vinyl; Stereo BTS 17), with excerpt of Partch's "Castor and Pollux" among works of other composers
Folder 16: Programs and brochures, ca. 1959-1969: Concert, lecture, festival, and recording notes, programs, and brochures
Folder 17: Jean Cutler's rehearsal notes for "Revelation in the Courthouse Park", ca. 1961: Jean Cutler manuscript rehearsal notes with blueprint of stage floorplan for "Revelation"
Folder 18: Newspaper and magazine articles, 1961-1972
Folder 19: Letters and film release forms from Partch to Jean Cutler, 1963-1970: Film release forms for the film "The End of Life Is Perception-- Harry Partch" and letters from Partch to Cutler; letter from Linda Schell
Folder 20: Cutler notes for film "The End of Life is Perception", ca. 1969-1976: Jean Cutler's notes and correspondence for his uncompleted film "The End of Life Is Perception"

Box 2

Folder 1: Shot List for Partch Film, ca. 1976: Shot lists and editing record for Cutler's unfinished film about Partch, "The End of Life Is Perception", 1 of 3, shot and edge numbers correspond with those listed on film canisters in box 2
Folder 2: Shot List for Partch Film, ca. 1976: Shot lists and editing record for Cutler's unfinished film about Partch, "The End of Life Is Perception", 2 of 3, shot and edge numbers correspond with those listed on film canisters in box 2
Folder 3: Shot List for Partch Film and Related Notes, ca. 1976: Shot lists and editing record for Cutler's unfinished film about Partch, "The End of Life Is Perception", 3 of 3, shot and edge numbers correspond with those listed on film canisters in box 2
Reel 1: Film about Harry Partch, ca. 1969: 16 mm color acetate film, core 2, shots 1-8, edge numbers 57798-57558
Reel 2: Film about Harry Partch, ca. 1969: 16 mm color acetate film, outer edge starts with shot 33 and edge number 00202
Reel 3: Film about Harry Partch, ca. 1969: 16 mm color acetate film, outer edge starts with shot 55 and edge number 51359
Reel 4: Film about Harry Partch, ca. 1969: 16 mm color acetate film, "unformatted color," shots 57-72, outside edge numbers 82204 - 83004
Reel 5: Film about Harry Partch, ca. 1969: 16 mm color acetate film, "H 821_ 72 B," outer edge starts with shot 65 and edge number 82593
Reel 6: Film about Harry Partch, ca. 1969: 16 mm color acetate film, outer edge starts around shot 65 and edge number 82751 and up
Reel 7: Film about Harry Partch, ca. 1969: 16 mm black and white acetate film, "Instruments (Partch) Being Played," outder edge starts with edge number 61157, "Shots 27, 126, 127, 206, 224-228," "Core 3"
Reel 8: Film about Harry Partch, ca. 1969: 16 mm black and white acetate film, "Partch Instruments," "Shots: 191-194, 196, 214, 215-223, 237, 239, 241, 243," outder edge starts with number 80973
Reel 9: Film about Harry Partch, ca. 1969: 16 mm black and white acetate film, "still shots and studio," outer edge starts with edge number 62486 and lower, near shot 302
Reel 10: Film about Harry Partch, ca. 1969: 16 mm black and white acetate film, outer edge starts with edge number 36660 and higher, around shot 356, "H 356"
Reel 11: Film about Harry Partch, ca. 1969: 16 mm black and white acetate film, "lite 25," outer edge starts with edge number 36446 and lower, near shot 363I
Reel 12: Film about Harry Partch: 16 mm black and white acetate film, outer edge numbers 25258-24459, shots 364-365, original labelling incorrect per note included in film cannister
Reel 13: Film about Harry Partch, ca. 1969: 16 mm black and white acetate film, includes edge number 36009/shot 358D and 24781 and higher/near shot 388, "H3T86 T358"
Reel 14: Film about Harry Partch, ca. 1969: 16 mm black and white acetate film, outer edge starts with edge number 25258 and lower, near shot 399
Reel 15: Film about Harry Partch, ca. 1969: 16 mm black and white acetate film, outer edge starts with edge number 80973 and lower, near shots 412-416, "lt-416 T-412"
Reel 16: Film about Harry Partch, ca. 1969: 16 mm black and white acetate film, outer edge starts with edge number 81509 and higher, near shot 428, "XT-D429"
Reel 17: Film about Harry Partch, ca. 1969: 16 mm color acetate film, outer edge starts with edge number 99797 and higher, near shot 26; original label description included in film cannister-appears to be inaccurate
Reel 18: Film about Harry Partch, ca. 1969: 16 mm color acetate film, outer edge starts with edge number 82974, near shot 72, "instr. being played"
Reel 19: Film about Harry Partch, ca. 1969: 16 mm black and white acetate film, outer edge starts with edge number 25274 and higher
Reel 20: Film about Harry Partch, ca. 1969: 16 mm black and white acetate film, outer edge starts with edge number 23773 and higher, "T-475"
Reel 21: Unidentified film sound reel, ca. 1969: 16 mm polyester magnetic film stock for sound film, "content reformatted"
Reel 22: Unidentified film reel, ca. 1969: 16 mm polyester reel with no images apparent on outside edge
Reel 23: Unidentified film sound reel, ca. 1969: 16 mm magnetic polyester film stock for sound film, original label states "Reformatted 1 of 3"
Reel 24: Unidentified film sound reel, ca. 1969: 16 mm magnetic polyester film stock for sound film, original label states "Reformatted 2 of 3"
Reel 25: Unidentified film sound reel, ca. 1969: 16 mm magnetic polyester film stock for sound film, original label states "3 of 3 plus HP voice track"

Box 3

Folder 1: Harry Partch 1/4 inch tapes inventory, undated
Reel 1: Tape A, 1969: 1/4 inch acetate tape. Cutler annotation: "Begins with Web Smalley talking about directing - then Harry first interview - St. Paul's letter to the Corinthians - Hobo in Phoenix - nightwatchman - father wrote Chinese - permutation of no and not - relationship of Greek and Chinese." Cutler reel # 4
Reel 2: Tape B, 1969: 1/4 inch acetate tape. Cutler annotation: "Has part of the Potion Scene anecdote - the rest is on 16 mm - also talks about the Delusion film." Cutler reel #1
Reel 3: Tape C, 1969: 1/4 inch acetate tape. Cutler annotation: "Mother, Father, Frieda, Yates, Lou Harrison, Arch Lauterer, Garvey, MacKenzie, Talbot." Cutler reel #2
Reel 4: Tape D, 1969: 1/4 inch acetate tape. Cutler annotation: "Columbia recording - Delusion rationale - John McLure, Judith Anderson - opera - the 'Visual-Musician' - Americana - Hobo speech - Barstow - Newsboy - U.S. Highball - Walt Whitman." Cutler reel #3
Reel 5: Tape E, 1969: 1/4 inch acetate tape. Cutler annotation: "Hobo days - migrant worker - the Inner ear - the pleasure in learning - his fist review - 'Music cannot divorce itself from acoustic' - 'I can understand hermits' - the religious quality of Greek mythology." Cutler reel #5
Reel 6: Tape F, 1969: 1/4 inch acetate tape. Cutler annotation: "'I refuse to strain after explanations ... I want to stress the thing itself.' - electronic tapes = the individual is lost. People read, but you don't what effect your writing will have." Cutler reel #6
Reel 7: Tape G, 1969: 1/4 inch acetate tape. Cutler annotation: "intuition - chaos - explanations - Hoopa Indians - totem poles - Capt. Cook's artist." Cutler reel #7
Reel 8: Tape H, 1969: 1/4 inch acetate tape. Cutler annotation: "Hoopah Indians rhythm of 13 and of 11 - Zulus speech - rituals - rhythm and breathing." Cutler reel #8
Reel 9: Tape I, 1969: 1/4 inch acetate tape. Cutler annotation: "drums - procession - Edison recordings - Pueblos - Zunis - Hopis - Partch sings - congo puberty ritual - mathematics - paradox - perception." Cutler reel #1x
Reel 10: Tape J, 1969: 1/4 inch acetate tape. Cutler annotation: "U.S. Highball - the use of the subjective voice - conversations - sign - experiences as a hobo - places he has lived." Cutler reel #3x
Reel 11: Tape K, 1969: 1/4 inch acetate tape. Cutler annotation: "Frieda - St. Louis - play - 'The Wooden Bird' - Harry and Ben Johnston - Will Leach - Collette - 'The Child and Sorcerer' - Anecdotes re: (?) perfect pitch - John Cage and Harry in polarity - the trouble with old men." Cutler reel #4x
Reel 12: Tape L, 1969: 1/4 inch acetate tape. Cutler annotation: "Yeats - Oedipus - Bucky Fuller - poetry - his arguments for 'Revelation,' 'Oedipus,' 'Delusion,' and 'The Dreamer' - chaos." Cutler reel #2?
Reel 13: Tape M, 1969: 1/4 inch acetate tape. Cutler annotation: "Carnegie International - Edward R. Murrow - British Museum - Italy - London - U.S.A. - Los Angeles - Sacramento - hobo speech - 'Bitter Music' - Guggenheim. Note: Contact with Idaho publisher - also, microfilm to L.C. Marshall." Cutler reel #5x
Reel 14: Tape N, 1969: 1/4 inch acetate tape. Cutler annotation: "generation gap - beatniks, hippies, and hobos - his music required his instruments." Cutler reel #6x
Reel 15: Tape O, 1969: 1/4 inch acetate tape. Cutler annotation: "Partch edited voice track transferred to 16mm magnetic - mundane subjects - Partch rebellious nature." Cutler reel #u
Reel 16: Tape P: 1/4 inch polyester tape. Cutler annotation: "Partch music - various short reflections - plus an extended selection from U.S. Highball - coda from Revelation." Cutler reel #v
Reel 17: Tape Q, 1969: 1/4 inch polyester and acetate tape spliced together. Cutler annotation: "Partch Music, Master Tape #1." Cutler reel #Q
Reel 18: Tape R, undated: 1/4 inch acetate tape. Cutler annotation: "Partch interview II."
Reel 19: "Bewitched" and "30 Years of Lyrical Music", undated: 1/4 inch acetate tape. McGeary finding aid title "Cutler tape AA"
Reel 20: "Water! Water!", 1962: 1/4 inch acetate tape, recorded at at 3 3/4 ips. Cutler annotation: "Water Water, 1st through 6th Prologues plus some of 7th, at 3 3/4, Feb 8, 1962." McGeary finding aid title "Cutler tape BB"
Reel 21: "Water! Water!" Rehearsal Tape: 1/4 inch acetate tape recorded at 7 1/2 ips. Cutler annotations included in reel box. McGeary finding aid title "Cutler tape CC"
Reel 22: "Revelation", undated: 1/4 inch acetate tape. Cutler annotations included in reel box. McGeary finding aid title "Cutler tape EE"
Reel 23: "Revelation in the Courthouse Park", 1961: 1/4 inch acetate tape. Cutler annotation: "Revelation in the Courthouse Park:" Rehearsal Tape with John Garvey singing: Chorus 4, Scene 4, Coda, plus Rotate the Body in All Its Planes. "Cutler tape #FF"
Reel 24: "4th and 5th jazz numbers and 'Water! Water!'", undated: 1/4 inch acetate tape. "Cutler tape GG"
Reel 25: Film about Harry Partch, ca. 1969: 16 mm acetate film, see series 2, box 2, folder 1 for shot description, shots 9-25, core 3, "reformatted, 2 of 2"
Reel 26: Sound track, undated: 16 mm sound film

Box 35

Item 10: "U. S. Highball", 1956: Copy inscribed: "For Jean Cutler in / infinite gratitude / Harry". Gate 5 Records - Issue No. 6. 10 inch LP; Composer: Harry Partch
Item 11: "Revelation in the Courthouse Park", ca. 1970: Copy inscribed: "For Jean, Nina, Gigi, Laurence / Sean - Harry, March 1970". Gate 5 Records - Issue F. 12 inch LP; Composer: Harry Partch
Item 12: "The Bewitched" (2 copies), 1956: First copy is inscribed: "For Jean, Nina, Genevieve, with thanks for pioneering my appearances at the / University of Oregon (I hope they will not prove fatal!) / and your kind hspitality / Harry - Feb. 29, 1964". Second copy is inscribed: "For Jean + Nina + Gigi + Laurence + Sean - Harry". Gate 5 Records - Issue E. 12 inch LP (the second copy is only the sleeve with no record enclosed); Composer: Harry Partch
Item 13: "Oedipus", ca. 1954: Copy inscribed: "For Jean + Nina + Gigi + / Laurence + Sean - Harry / March, 1970". Gate 5 Records - Issue D. 12 inch LP; Composer: Harry Partch
Item 14: "The Wayward", ca. 1956: Copy inscribed: "For Jean + Nina + Gigi + Laurence + Sean - Harry / March, 1970". Gate 5 Records Issue B. 12 inch LP; Composer: Harry Partch
Item 15: Thirty Years of Lyrical ad Dramatic Music, ca. 1962: Copy inscribed: "For Jean - with thanks for dedicated / film work, with incidental rock / music / Harry, March, 1970". Gate 5 Records - Issue A. 12 inch LP; Composer: Harry Partch

Box 38

Folder 3: Ideas for Partch Film, undated

Series 3: Oliver Daniel Collection

Photocopies (and some original materials) in the possession of Oliver Daniel

Box 4

Folder 1: Correspondence regarding obtaining photocopied materials, 1987-1988: Correspondence from Donald Ott
Folder 2: Photocopies of correspondence between Harry Partch and Oliver Daniel, 1954-1972: Including sheet of pull quotes; "Statement", (31 May 1960), (4 pp.)
Folder 3: Photocopies of correspondence to and from Partch, Daniel, and others, 1952-1974: Includes correspondence with Carl Haverlin and Gerd Stern.
Folder 4: Newspaper and magazine articles, 1953-1991: Clippings and photocopies of articles about Oliver Daniel and Harry Partch
Folder 5: 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. 1954-1969

Series 4: Betty Freeman 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, found the Harry Partch Foundation, arrange for the production of "Delusion of the Fury" at U.C.L.A., shared with Partch the purchase of his home in Encinitas, and produced the prize-winning documentary "The Dreamer that Remains". The bulk of the collection was donated in January 1979, with supplements in later years, especially 1999.

Box 3

(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.

Item 1: "Hanging Clothes" and "Body and Rose Petal Jam" from "Dreamer that Remains", ca. 1974: 10 16 mm acetate and polyester film fragments. Betty Freeman's annotation: (1) "Scenes of Partch exercising not used in film. Hanging clothes scene was used partially. Worth doing. No sound Mos." and (2) "Partch in Rose Petal Jam Scene. Not used in film. Already edited as we were going to use it, then decided not to. Extremely valuable. Sound and film."
Item 2: Rehearsal scenes from "Dreamer that Remains", ca. 1974: 15 16 mm acetate and polyester film fragments. Betty Freeman annotation: "Could be fun to put this together. Rehearsal scene. A lot was not used in the film. Sound and film."
Item 3: Rehearsal scenes from "Dreamer that Remains", ca. 1974: 7 16 mm polyester and acetate film fragments. Betty Freeman annotation: "Could be fun to put this together. Rehearsal scene. A lot was not used in the film. Sound and film."
Item 4: Rehearsal scenes from "Dreamer that Remains", ca. 1974: 8 16 mm polyester and acetate film fragments. Betty Freeman annotation: "Could be fun to put this together. Rehearsal scene. A lot was not used in the film. Sound and film."
Item 5: Rehearsal scenes from "Dreamer that Remains", ca. 1974: 14 16 mm polyester and acetate film fragments. Betty Freeman annotation: "Could be fun to put this together. Rehearsal scene. A lot was not used in the film. Sound and film."
Item 6: "Ektara" and "Belly Drum and Gumbo" from "Dreamer that Remains", ca. 1974: 9 16 mm polyester and acetate film fragments. "Ektara" and "Belly Drum and Gumbo" scenes. Betty Freeman annotation: "Not used at all in the film. Should be most valuable. Partch demonstrating Inst. Sound and film."
Item 7: "Ektara" and "Belly Drum and Gumbo" from "Dreamer that Remains", ca. 1974: 7 16 mm polyester and acetate film fragments. Betty Freeman annotation: "Ektara and Belly Drum and Gumbo Scenes. Not used at all in the film. Should be most valuable. Partch demonstrating Inst. Sound and film."
Item 8: "Ektara" and "Belly Drum and Gumbo" from "Dreamer that Remains", ca. 1975: 7 16 mm polyester and acetate film fragments. Betty Freeman annotation: "Ektara and Belly Drum and Gumbo Scenes. Not used at all in the film. Should be most valuable Partch demonstrating Inst. Sound and film." Also includes scenes "Bass Dyan" and "Mos Reactions."
Item 9: "Bass Dyad" and "Mos Reactions" from "Dreamer that Remains": 1 16 mm polyester film reel. Labelled: "Duad/not coded." Betty Freeman annotation: "Harry making the Bass Dyad. Parts were used in the film but these remaining parts would be most interesting. No sound. We used background music and voice over"
Item 10: "Bass Dyad" and "Mos Reactions" from "Dreamer that Remains", ca. 1974: 1 16 mm acetate film reel. Betty Freeman annotation: "Harry making the Bass Dyad. Parts were used in the film but these remaining parts would be most interesting. No sound. We used background music and voice over."
Item 11: "Bass Dyad" and "Mos Reactions" from "Dreamer that Remains", ca. 1974: 4 acetate and polyester 16 mm film fragments. Betty Freeman annotation: "Harry making the Bass Dyad. Parts were used in the film but these remaining parts would be most interesting. No sound. We used background music and voice over."
Item 12: "Bass Dyad" and "Mos Reactions" from "Dreamer that Remains": 2 16 mm polyester film fragments. Betty Freeman annotation: "Harry making the Bass Dyad. Parts were used in the film but these remaining parts would be most interesting. No sound. We used background music and voice over."
Reel 1: "The Dreamer that Remains", ca. 1974: 16 mm color acetate sound film on 12" reel; 30 minute duration, formerly MP Film/ M1527/P27D73

Box 4

Folder 6: Correspondence from Harry Partch, 1979: Copies made in 1979. Correspondence dates from 1964-1974.
Folder 7: Programs, brochures, newspapers clippings, and publicity material, 1966-1977: Mostly relating to films and concerts in southern California in the 1960s
Folder 8: Correspondence, 1959-1986: Included are letters from Peter Yates, Steven Pouliot, John McClure, Oliver Daniel, Harold Spivacks, Lou Harrison, Jean Cutler, Virgil Thomson, John Cage, Pauline Oliveros, Jacques Barzun. Also included are originals and photocopies of letters to and from Betty Freeman regarding Partch.
Folder 9: Correspondence with Peter Yates, 1969-1973: Originals and photocopies
Folder 10: Correspondence with University of California, San Diego, 1967-1970: Originals and photocopies of letters with various administrators about Partch's appointment
Folder 11: Correspondence regarding Harry Partch Foundation and distribution of "The Dreamer that Remains", 1970-1972: Originals and photocopies
Folder 12: Material relating to January 1975 performance of Bewitched at UCLA, 1974: Originals and photocopies of correspondence, contracts, and publicity material
Folder 13: Material relating to proposed Smithsonian tour, 1968-1975: Originals and photocopies of correspondence, minutes, and publicity materials
Folder 14: Material relating to lease of house-studio in Solana Beach, 1970: Originals and photocopies of letters, contracts, and receipts
Folder 15: Final script for "The Dreamer that Remains", undated: Photocopy (22 pp.)
Folder 16: Outline of "Dreamer that Remains" and excerpt from chapter 14 of Genesis of a Music, ca. 1969-72: (1) Partch's original (and rejected) scenario for The Dreamer that Remains (27 May 1972) (6 pp. with pencil annotations by Betty Freeman) and (2) Copies of a portion of chapter 14 of Genesis of a Music dealing with "Delusion of the Fury"
Folder 17: Material relating to the film "The Dreamer that Remains", ca. 1972-1973: Originals and photocopies of list of premiere invitees, correspondence, publicity material, order forms, and television listings

Box 5

Folder 1: Transcripts of interviews conducted for The Dreamer that Remains, undated: Original typescripts and photocopies; speakers in Harry Partch, Danlee Mitchell, Jim Aitkenhead. (Gift in January 1979)
Folder 2: Originals and photocopies of newspaper and periodical articles, book excerpts, "Dreamer that Remains" script, interview transcript, and concert programs, ca. 1952-1985: Copies and some originals of various research material about Partch; texts to Barstow (3 pp.), "The Dreamer That Remains" (22 pp.); text of interview with Henry Brant (1985)
Folder 3: Original and photocopied articles from periodicals and website about Partch, 1989-1998
Folder 4: Brochures and announcements for concerts, 1989-1998
Folder 5: Correspondence about Partch, 1991-1999: Includes photocopy of 1945 essay on quartertones and correspondence regarding removal of Partch instruments from Purchase College
Folder 6: Correspondence with Philip Blackburn about Enclosures project, 1995-1998
Folder 7: Genesis of a Music, 1965: Inscribed by Partch 22 April 1965 with a dedication to Betty Freeman
Folder 9: Interval and Soundings no. 2, Fall 1978

Box 6

Folder 1: Enclosure 3: Harry Partch, Ed. Philip Blackburn, 1996: Excerpts
Folder 2: Source: Music of the Avant Garde, no. 1, 1967
Folder 3: Source: Music of the Avant Garde, no. 2, 1967

Box 7

Folder 1: Typescript with manuscript in ball point pen of movement titles for "And on the Seventh Day Petals Fell in Petaluma", 1966: (enclosed with Betty Freeman Collection tape no. 1)
Item 1: David Dunn interview with Betty Freeman, Santa Fe, Hotel Coronado, 1988: Casette tape
Item 2: "The Dreamer That Remains", 1979: 16mm film on 9" reel, 30 minutes, [formerly MP Film/M1527.P27D73]
Item 3: "The Dreamer That Remains", ca. 1973: 16 mm film on 9" reel, 10 minutes, "film of the composition only"
Item 4: "And on the Seventh Day Petals Fell in Petaluma", ca. 1966: 1/4 inch polyester tape on reel, 2-track stereo, 7 1/2 ips, see enclosure and box 7, folder 1 for contents
Item 5: Harry Partch lecture at the University of Hawaii (1/4 track stero, 3 3/4 ips), undated: 1/4 inch polyester tape, 1/4 track stereo, 3 3/4 ips, tail out
Item 6: Philip Blackburn and Dean Drummond interview, 1998: Casette tape of interview by Lianne Hanson about Harry Partch broadcast on NPR radio
Item 7: Otto Luening interview Parts I and II, 1986: Casette tape of November 22, 1986 interview with Betty Freeman about Partch, 1 of 2
Item 8: Otto Luening Interview Part III, 1986: Casette tape of November 22, 1986 interview with Betty Freeman about Partch, 2 of 2
Item 9: Rose Petal Jam and film fragments, undated: Two 16 mm film fragments, probably from "Dreamer that Remains"
Item 10: "AFMM Plays Partch", 1994: Casette tape of American Festival of Microtonal Music with a performance of "U.S. Highball" and "Barstow," given to Betty Freeman by Johnny Reinhard
Disc 1: 43D.P.O., 1990: CD recording by Syzygys. Betty Freeman annotation: "The Japanese lady has made her own Partch Chromelodeon, written songs for it, and concertizes with the violinist in night clubs. She presented me this CD in Feb. 1990 when I made a photography exhibition in Tokyo."

Series 5: John Simon Guggenheim Memorial Foundation Collection

Photocopies of materials in the John Simon Guggenheim Memorial Foundation, New York, files. Presumably not included are reference letters from third parties.

Box 8

Folder 1: Correspondence regarding obtaining photocopies, 1980-1982
Folder 2: Partch Letters to Henry Allen Moe, 1933-1963: Photocopies of correspondence and enclosures
Folder 3: Partch 1933 Fellowship Application, 1932-1933: Photocopies of application materials and related correspondence
Folder 4: Partch 1934 Fellowship Application, 1931-1933: Photocopies of application materials and related correspondence
Folder 5: Partch Application to Yaddo, Saratoga Springs, NY, ca. 1942: Photocopy of application
Folder 6: Partch 1943 Fellowship Application (and related correspondence), 1942-1944: Photocopies of application materials and correspondence
Folder 7: Correspondence regarding 1950 Fellowship, 1950: Photocopies of correspondence
Folder 8: Carbons of letters to Douglas Moore, 1959-1960
Folder 9: Partch letters to Gordon Ray, 1961, 1966: Photocopies of correspondence

Series 6: Barnard Hewitt Collection

Original materials given by Barnard Hewitt in 1978. Note: Hewitt's set of Gate 5 records have been catalogued and shelved separately in Special Collections; a tape of Partch's Revelation radio lecture-demonstration has been catalogued as Harry Partch Archive Tape 13.

Box 8

Folder 10: Inventory and obituary of Hewitt, 1978, 1987: Inventory prepared by Barnard Hewitt
Folder 11: Correspondence between Partch and Hewitt, 1959-1966
Folder 12: Correspondence among various persons (including Partch and Hewitt), 1961-1969: Originals and copies. Included are Pierre Schaeffer, John Garvey, UIUC administrators, Oliver Daniel, and Jacques Barzun.
Folder 13: Internal documents and letters regarding Partch's appointments and productions at the University of Illinois, 1959-1962
Folder 14: Newspaper and magazine clippings, ca. 1961-1974
Folder 15: Libretto for "Revelation in the Courthouse Park": Copy of libretto for Revelation in the Courthouse Park with paste-over corrections by Partch and annotations by Hewitt
Folder 16: Scenario for "Delusion of the Fury", 1965: 16 pp.
Folder 17: Libretto for "Water! Water!", 1961: Includes Hewitt's pencil annotations
Folder 18: Programs of Partch Concerts, 1952-1969: Programs and notes for Partch productions including "The Bewitched", "Delusion", "Water! Water!", "Revelation"
Folder 19: Gate 5 prospectuses and brochures, 1957-1962
Reel 1: "Revelation in the Courthouse Park", 1961: 1/4 inch acetate tape prepared for WNYC radio, New York, by Partch. Contains excerpts from "Revelation in the Courthouse Park" and a spoken introduction by Partch. Tape sent January 1962; aired Feb. 16, 1962 (see correspondence in Barnard Hewitt Collection, box 8, folder 12). Program enclosed.

Series 7: Robert Kostka Collection

Complete collection of original materials purchased from Kostka in November 1987

Box 8

Folder 20: Correspondence regarding purchase of Partch materials, 1987-1988
Folder 21: Correspondence from Harry Partch, 1953-1963
Folder 22: Slides of record album cover, 1971: Two slides of record album cover for "30 Years of Lyric and Dramatic Music"
Folder 23: Carbon typescript of U.S. Highball film script, undated: Copy of introductory essay and tentative film script (29 pp.) (Yellow Springs, Ohio)
Folder 24: Brochures and Newspaper Clippings: Includes correspondence, clippings, and original brochures for early subscription recordings

Series 8: Lynn Ludlow Collection

Original and photocopies of brochures, programs, announcements, newspaper and magazine clippings, given in April 1989

Box 9

Folder 1: Correspondence and microfiche, 1988
Folder 2: Correspondence, concert and recording brochures, programs, and announcements, 1951-1964: Programs, notes, announcements, recording subscription brochures for Music by Harry Partch, "Water! Water!", "Oedipus", "Bewitched" (at Columbia University), UCLA lecture-concert, "Revelation"
Folder 3: Newspaper and magazine clippings, 1939-1988: Includes microfiche of San Francisco Examiner clip file on Partch

Series 9: Lauriston C. Marshall 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. As a precaution, Marshall had many of Partch's compositions and journals microfilmed, thus preserving several otherwise lost compositions and journals. A more comprehensive biography of Marshall can be found in Box 11, Folder 1 "Correspondence regarding establishment of Marshall Collection."

Arrangement note: related correspondence may be found in adjacent folders in sub-series two.

Sub-Series 1: Media

Listening copies of recordings in sub-series 1 are available at the University of Illinois Music and Performing Arts Library Special Collections, call number TAPE M3.1P37 U5. See Appendix I of the Guide to the Collection linked above for an index of these tape copies.

Box 12

Item 1: Gate 5 Ensemble, circa 1953: "Plectra and Percussion Dances", 12 in. master stamper copper disc, possibly for 1953 self-released edition (stampers do not appear to match the 1957 Gate 5 edition, found in box 35). Can not be played. Matrix # HP-1 (reversed). Copy 1. See folder one for original paper sleeve.; Composer: Harry Partch
Item 2: Gate 5 Ensemble, circa 1953: "Plectra and Percussion Dances", 12 in. master stamper copper disc, possibly for 1953 self-released edition, (stampers do not appear to match the 1957 Gate 5 edition, found in box 35). Can not be played. Matrix # HP-2 (reversed). Copy 1. See folder one for original paper sleeve.; Composer: Harry Partch
Item 3: Gate 5 Ensemble, circa 1953: "Plectra and Percussion Dances", 12 in. master stamper copper disc, possibly for 1953 self-released edition, (stampers do not appear to match the 1957 Gate 5 edition, found in box 35). Can not be played. Matrix # HP-1 (reversed). Copy 2. See folder one for original paper sleeve.; Composer: Harry Partch
Item 4: Gate 5 Ensemble, circa 1953: "Plectra and Percussion Dances", 12 in. master stamper copper disc, possibly for 1953 self-released edition, (stampers do not appear to match the 1957 Gate 5 edition, found in box 35). Can not be played. Matrix # HP-2 (reversed). Copy 2. See folder one for original paper sleeve.; Composer: Harry Partch
Folder 1: Record envelopes for "Plectra and Percussion Dances" copper masters, circa 1953
Item 5: "Partch Compositions", 1951: Side 1: "Discourse" and Sample Passages / Side 10: Intrusions: Dark Brother II", 12 inch 78 rpm stamped broadcast disc, Radio Recorders, Santa Monica, CA.; Composer: Harry Partch
Item 6: "Partch Compositions", 1951: Side 2: "Discourse" and Sample Passages / Side 9: Intrusions: Dark Brother I", 12 inch 78 rpm stamped broadcast disc, Radio Recorders, Santa Monica, CA.; Composer: Harry Partch
Item 7: "Partch Compositions", 1951: Side 3: "Intrusions," "1.Greek Anharmonic Scale" and "2. Phrygian Suite" / Side 8: "Intrusions", "12. Cloud Chamber Music", 12 inch 78 rpm stamped broadcast disc, Radio Recorders, Santa Monica, CA.; Creator: Harry Partch
Item 8: "Partch Compositions", 1951: Side 4: "Intrusions", "3.The Rose", "4. The Crane", and "5. The Wind" / Side 7: "Intrustions", "10. Lover" and "11. Soldiers", 12 inch 78 rpm stamped broadcast disc, Radio Recorders, Santa Monica, CA.; Creator: Harry Partch
Item 9: "Partch Compositions", 1951: Side 5: "Intrusions", "6. The Waterfall" and "7. The Letter" / Side 6: "Intrustions", "8. The Street" and "9. Vanity", 12 inch 78 rpm stamped broadcast disc, Radio Recorders, Santa Monica, CA.; Creator: Harry Partch
Item 10: Test pressing of "Partch Compositions" side 4, ca. 1951: "1. The Rose", "2. The Crane", "3. The Wind", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 8 for final pressing.; Composer: Harry Partch
Item 11: Test pressing of "Partch Compositions" side 5, ca. 1951: "1. The Waterfall" and "2. The Letter", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 9 for final pressing.; Composer: Harry Partch
Item 12: Test pressing of "Partch Compositions" side 6, ca. 1951: "1. The Street" and "2. Vanity", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 9 for final pressing.; Composer: Harry Partch
Item 13: Test pressing of "Partch Compositions" side 7, ca. 1951: "1. Lover" and "2. Soldiers", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 8 for final pressing.; Composer: Harry Partch
Item 14: Test pressing of "Partch Compositions" side 8, ca. 1951: "Cloud Chamber Music", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 7 for final pressing.; Composer: Harry Partch
Item 15: Test pressing of "Partch Compositions" side 9, ca. 1951: "Dark Brother 1", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 6 for final pressing.; Composer: Harry Partch
Item 16: Test pressing of "Partch Compositions" side 10, ca. 1951: "Dark Brother 2", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 5 for final pressing.; Composer: Harry Partch
Item 17: Test pressing of "Partch Compositions" side 3, ca. 1951: "1. Study in Ancient Phrygian Scale" "2. Study in ancient Greek Enharmonic Scale", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 7 for final pressing.; Composer: Harry Partch
Item 18: Test pressing of "Partch Compositions" side 2, ca. 1951: "Introdution-2, Incl. Minuet, and intro. to Intrusions", 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 6 for final pressing.; Composer: Harry Partch
Item 19: Test pressing of "Partch Compositions" side 1, ca. 1951: "Introdution-1" 12 inch vinyl one-sided stamper test disc, Recorders Labs, Inc. See item 5 for final pressing.; Composer: Harry Parch
Folder 2: Record envelope for Matrix 51321, ca. 1951: "Sample sleeve for recordings 4a-d [Items 20-23]"
Item 20: Unidentified Audiodisc, 1951: Labeled "51321, #1", engraved with "780", 12 inch steel base acetate one-sided disc
Item 21: Unidentified Audiodisc, 1951: Labeled "51321, #2", engraved with "781", 12 inch steel base acetate one-sided disc
Item 22: Unidentified Audiodisc: Labeled "51321, #3", engraved with "782", 12 inch steel base acetate one-sided disc
Item 23: Unidentified Audiodisc, 1951: Labeled "51321, #4", engraved with "784", 12 inch steel base acetate one-sided disc
Item 24: "Ten Lyrics by Li Po", 1947: "Side 1, Voices--Wm. Wendlandt and Partch, Adapted Viola--Partch" / "Side 2" matrix: B-7707, issued by Warren E. Gilson, Madison, Wisc., 12 inch red vinyl 78 rpm disc; Composer: Harry Partch
Item 25: Unidentified Audiodisc, 1947: "Side 3" matrix: B-7708 / "Side 4" matrix: B-7709x, no title, most likely continuation of Item 24, "Ten Lyrics by Li Po", issued by Warren E. Gilson, Madison, Wisc., 12 inch red vinyl 78 rpm disc
Item 26: "15. U.S. Highball 6" / "16. U.S. Highball 7", ca. 1945: 12 inch steel base acetate disc, 78 rpm, Tom McGeary note: "Apparently made in Madison, Wisc."; Composer: Harry Partch
Item 27: "Barstow #1" / "#2", ca. 1945: 12 inch steel base acetate disc, 78 rpm, Tom McGeary note: "Apparently made in Madison, Wisc."; Composer: Harry Partch
Item 28: "Li Po Lyrics" / "Li Po Dreams", ca. 1945: 12 inch steel base acetate disc, Tom McGeary note: "Apparently made in Madison, Wisc."; Composer: Harry Partch
Item 29: "Barstow", ca. 1945: 12 inch steel base acetate disc, 78 rpm, Tom McGeary note: "Apparently made in Madison, Wisc."; Composer: Harry Partch
Item 30: "Isobel 3" / "[Annah the] Allmaziful 4", ca. 1945: 12 inch steel base acetate disc, Tom McGeary note: "Apparently made in Madison, Wisc."; Composer: Harry Partch
Item 31: "6. Y.D. Fantasy" / "Y.D. Fantasy, BAD", ca. 1945: 12 inch steel base acetate disc, Tom McGeary note: "Apparently made in Madison, Wisc."; Composer: Harry Partch
Item 32: Unidentified disc, undated: 12 inch steel base acetate disc
Item 33: "7. Dark Brother #1" / "8. Dark Brother #2", undated: 12 inch steel base acetate disc; Composer: Harry Partch
Item 34: "6. Y.D. Fantasy (Original)" / "16. U.S. Highball (Original)", undated: 12 inch steel base acetate disc; Composer: Harry Partch
Item 35: "15. U.S. Highball (Original)" / "Bad", undated: 12 inch steel base acetate disc; Composer: Harry Partch
Item 36: "13. U.S. Highball (Original)" / "14. U.S. Highball (Original)", 1945: 12 inch steel base acetate disc; Composer: Harry Partch
Item 37: "11. U.S. Highball (Original)" / "12. U.S. Highball (Original)", 1945: 12 inch steel base acetate disc; Composer: Harry Partch
Item 38: "9. San Francisco (Original)" / "10. U.S. Highball (Original)", 1945: 12 inch steel base acetate disc; Composer: Harry Partch
Item 39: "3. Isobel (Original)" / "4. Annah the Allmaziful (Original)", undated: 12 inch steel base acetate disc; Composer: Harry Partch
Item 40: "1. Barstow (Original)" / "2. Barstow (Original)", undated: 12 inch steel base acetate disc; Composer: Harry Partch
Reel 1: H. Partch: Introduction, 1957: 10 inch reel, 1/4 inch acetate tape, 15 i.p.s., includes excerpts from "Bewitched"; Composer: Harry Partch
Reel 2: Incomplete Prologue to "The Bewitched", scene 10 and epilogue, 1957: 10 inch reel, 1/4 inch acetate tape, 15 i.p.s., includes excerpts from "The Bewitched"; Composer: Harry Partch

Box 13

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.

Reel 1: "Windsong", 1958: Recording-session takes for Windsong, Evanston, 5 inch reel, 1/4 inch acetate tape, 15 ips; Composer: Harry Partch
Reel 2: Unidentified reel, undated: Tom McGeary note: "(?) Recording-session takes for Windsong; at fast or slow speed for over-dubbing", 5 inch reel, 1/4 inch acetate tape
Reel 3: "Windsong" interview, 1958: Interview with Madeline Tourtelot and Harry Partch on WTTV-TV, Chicago, prior to screening of the film "Windsong". 5 inch reel, 1/4 inch acetate tape, 7 1/2 ips
Reel 4: "Prologue" from "Bewitched", undated: The Bewitched: Prologue (incomplete), 5 inch reel, 1/4 inch acetate tape, 15 ips; Composer: Harry Partch
Reel 5: "Plectra and Percussion Dances": Status: missing. See Box 33 for casette copies of these tapes. Tom McGeary description: "Lecture by Harry Partch prior to live performance, 2 reels of "Plectra and Percussion Dances" at International House, Berkeley, November 19, 1952, broadcast over KPFA FM, Horace Schwartz, conductor, Gate 5 ensemble. Reel 1: lecture and performance of "Castor and Pollux", Reel 2: "Ring Around the Moon" and "Even Wild Horses", 7 inch reel, 7 1/2 ips; Composer: Harry Partch
Reel 6a-b: Lecture and demonstration of instruments, 1957: Given as preamble to "The Bewitched", Tom McGeary note: " 'A Soul Tormented by Contemporary Music Looks for a Humanizing Alchemy', presented at the University of Illinois, on Sunday, two days before the premiere of The Bewitched." 7 inch reel, 1/4 inch acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 7: "Sonata Dementia" and "Instrusions", ca. 1958: Tom McGeary note: "Recording session of Harry Partch accompanying himself on various instruments; probably recorded at Gualala. Pieces include 'The Rose', 'The Crane', 'The Waterfall', 'The Letter', 'The Wind', 'The Street', and 'Sonata Dementia' (chromo. only)" 7 inch reel, 1/4 inch acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 8: Junk, 1953: Tom McGeary note: "On one track are some performances of Partch's music; the other track contains legal speeches", 7 inch reel, 1/4 inch acetate tape, 15 ips; Composer: Harry Partch
Reel 9: Partch Talks, 1957: Tom McGeary note: "(1) Introduction by Harry Partch to the recorded version of 'Oedipus', broadcast over KPFA-FM, San Francisco, ca. 1954 (date April 26, 1956 is written on box). (2) Introduction by Harry Partch prior to live performance of 'Plectra and Percussion Dances' (see Tape 5); incomplete", 7 inch reel, 1/4 inch acetate tape, 7 1/2 ips
Reel 10: "Dark Brother", 1962: Direct from original acetate master. 7 inch reel, 1/4 inch polyester tape, 7 1/2 ips; Composer: Harry Partch
Reel 11a-b: The Gate 5 Ensemble, 1958: Reel A: Tom McGeary note: "Even Wild Horses" (from Plectra and Percussion Dances); appears to be recorded from a master tape rather than a disc; Reel B: "Castor and Pollux", "Ring Around the Moon". 7 inch reels, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 12: "Sonata Dementia" (incomplete), 1957: Tom McGeary note: Not all instrumental parts are included in this performance. They are: "Abstraction and Delusion" (bass marimba chromelodeon, and marimba), "Scherzo Schizophrenia" (harmonic canon, marimba, and bass marimba), and "Allegro Paranoia" (marimba, bass marimba, and chromelodeon). 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 13a-d: "The Bewitched", 1957: Reel A: Prologue, 18' 28"; Reel B: Scenes 1-3, 16' 31"; Reel C: Scenes 4-7, 20'; Reel D: Scenes 8-10 and Epilogue, 20' 52". Tom McGeary note: Copy from master tape rather than 28 4 reels disc. 7 inch reels, polyester tape, 7 1/2 ips; Composer: Harry Partch
Reel 14: Recording Session Takes, undated: Tom McGeary note: Including "The Letter". 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 15: Rehearsal Sessions, 1951: Includes "The Waterfall", "The Crane", and other unidentified rehearsal passages. 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 16a-b: "Discourse and Intrusions", 1951: High quality direct copy from 2 reels original Paramount tape. 7" reels, acetate tape, 15 ips; Composer: Harry Partch
Reel 17: Unidentified Marimba Music, 1951: 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 18: Li Po Settings, Undated: Tom McGeary note: Taped from 78 rpm recordings; label describes as "Master". 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 19: Introduction to "Oedipus", ca. 1954-5: Prior to broadcast of new version over KPFA radio. 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 20: Excerpts, 24 April 1962: From "Li Po", "Barstow", "U.S. Highball", "The Letter", Demonstration talk prior to "Intrusions", and "Scale Studies". Tom McGeary note: Box states "Excerpts for St. L. lecture". 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 21: "Discourse and Intrusions", 1951: Tom McGeary note: Box describes as "Master"; 7 1/2 ips copy from original Paramount tape. 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 22: "Discourse and Intrusions", 1951: Tom McGeary note: Box described as "Master"; copy from original Paramount tape. 7 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 24: "Windsong", 1958: Recording session takes. Tom McGeary note: Evanston; originally recorded on Berlant. 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 25: "Windsong", 1958: Recording session takes, Evanston. 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 26: "Windsong", 1958: Recording session takes, Evanston. 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 27: "Windsong" (?), undated: Tom McGeary note: Probably recording session takes for "Windsong", passages recorded at slow speed. 7 inch reel, acetate tape, speed unknown; Composer: Harry Partch
Reel 28: "Oedipus", 1954: Excerpt. Tom McGeary note: Reel no. two through five; from mid-scene 15 to end; high level. 7 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 29: "Oedipus", 1954: Excerpt. Tom McGeary note: reel no. two through five; from mid-scene 15 to end; high level. 7 inch reel, polyester tape, 15 ips; Composer: Harry Partch
Reel 30: "Oedipus", 1954: Tom McGeary note: Reel no. two through five; from mid-scene 15 to end; high level. 7 inch reel, polyester tape, 15 ips; Composer: Harry Partch
Reel 31: "Oedipus", 1954: Tom McGeary note: Reel no. two through five; from mid-scene 15 to end; high level. 7 inch reel, polyester tape, 15 ips; Composer: Harry Partch
Reel 32: "U.S. Highball", undated: Tom McGeary note: Rehearsal passages; including passages beginning "There she jerks" and "You exclamation mark". 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 33: "U.S. Highball", undated: Tom McGeary note: Rehearsal passages; passages include "Leaving San Francisco", "Hey don't sleep", and "They've gone". 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch

Box 14

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.

Reel 34: "The Bewitched", undated: Fragments. Tom McGeary note: Box marked "Sausalito" possible rehearsals of first version of The Bewitched before rewritten for U. of Illinois production). 7 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 35: "U.S. Highball", undated: Tom McGeary note: Rehearsal passages from end of U.S. Highball. 7 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 36a-b: "Discourse and Intrusions", 1951: Reel A: "Discourse" (lecture and demonstration of instruments); "Intrusions" No. 1 "Study on Olympos' Pentatonic", No. 2 "Study on Freek Enharmonic"; Reel B: "Dark Brother", "Intrusions" No. 11 "Cloud-Chamber-Music", No. 8 "lover", No. 10 "Vanity", No. 9 "Soldiers" (incomplete); Tom McGeary note: Apparently reels a & b incomplete: tape ran out before end of "Soldiers". 7 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 37: "U.S. Highball", undated: Rehearsal passages. 7 inch reel, acetate tape, 15ips; Composer: Harry Partch
Reel 38: "Windsong", undated: Tom McGeary note: Fragments (probably takes from recording session. 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 39: "Discourse and Intrusions", undated: Incomplete. 7 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 40: "Windsong", 1958: Recording session takes. Tom McGeary note: Reel 4 and 5; Windsong takes on Berlant; Evanston. 7 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 41: "Plectra and Percussion Dances", 1953: Tom McGeary note: Reel I, copy 2; Castor and Pollux (2/20/53) and Ring Around the Moon (6/29/53). 10 1/2 inch reel, acetate tape, 15ips; Composer: Harry Partch
Reel 42: "Plectra and Percussion Dances", 1953: Tom McGeary note: Reel II, copy 2; Even Wild Horses (2/6/53?). 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 43: "Plectra and Percussion Dances", 1953: Tom McGeary note: Reel I; Castor and Pollux (2/20/53) and Ring Around the Moon (6/20/53); copy 1; engineered by L.C.M. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 44: "Plectra and Percussion Dances", ca. 1957: Tom McGeary note: Reel II; Even Wild Horses; copy 1; Eng. L.C.M. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 45: "U.S. Highball", 1958: Fragments. Tom McGeary note: Recording session takes, Partch's voice heard on takes. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 46: Excerpts and Fragments from "The Wayward", "Barstow", "The Letter", and "Ulysses at the Edge", undated: A side contains unidentified music, not by Partch. Works mentioned in the title are on B side. Tom McGeary note: Partch directing; The Letter interrupted by short bursts of backward music. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 47: "Oedipus", 1954: Fragments. Tom McGeary note: Recording session takes, Partch directing. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 48: "Oedipus", 1954: Tom McGeary note: Reel 1; scenes 1-18; engineered by Partch; from original. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 49: "Oedipus", 1954: Tom McGeary note: Reel 1; scenes 1-18; engineered by Partch; from original. 10 1/2 inch reel, acetate tape, 15 ips
Item 1: "End Littoral" and "Bitter Music", undated: Two journals. Microfilm.
Item 2: Full Scores of Musical Compositions, undated: "Sonata Dementia" : Abstraction and Delusion, Scherzo Schizophrenia, Allegro Paranoia (see box 11, folder 2 for printout); "Two Intrusions": Study on Olympos' Pentatonic, Study on Archytas' Enharmonic; "Three Intrusions": The Rose, The Crane, The Waterfall; "Three Instrusions": The Wind, The Street, The Letter; "Five Intrusions": Lover, Soldiers--War--Another War, Vanity, Cloud-Chamber Music: Intrusion 14. Microfilm; Composer: Harry Partch
Item 3: Full scores (and some instrumental parts) of musical compositions, undated: "17 Lyrics of Li Po" (score dated New York, 1933), printout in Music and Performing Arts Library Special Collections, M1626 P27 L9; "San Francisco: A Setting of the Cries of Two Newsboys on a Street Corner" (1943), printout in Music and Performing Arts Library Special Collections, M1613.3 P27 S2; "Letter from Hobo Pablo" (1943) , printout in Music and Performing Arts Library Special Collections, M1613.3 P27 S2; "U. S. Highball": part for Chromelodeon and voices; full score: 1943 version for Adapted Guitar, voices, Chromelodeon, and Kithara (1944); part for Kithara, printout in Music and Performing Arts Library Special Collections, M1613.3 P27 U7; "Dark Brother" (1943), printout in Music and Performing Arts Library Special Collections, M1613.3 P27 D2198; "December, 1942--Three Settings for Guitar and Voice": "Come Away, Death" (Shakespeare's 'Twelfth Night'), "The Heron" (Tsuryuki), "The Rose" (Ella Young), printout in Music and Performing Arts Library Special Collections, M1624 P27 D3; "Two Settings from Finnegan's Wake" (1944): "Isobel", "Annah the Allmaziful", printout in Music and Performing Arts Library Special Collections, M1613.3 P27 S41; "Two Psalms" (1943): The Lord is My Shepherd", "By the Rivers of Babylon", printout in Music and Performing Arts Library Special Collections, M1613.3 P27 P7; "Barstow" (1943), printout in Music and Performing Arts Library Special Collections, M1613.3 P27 B2; Y. D. Fantasy (1944). Negative microfilm
Item 4: Full scores (and some instrumental parts) of musical compositions, undated: Positive microfilm copy of Item 3
Reel 71: Gualala, undated: From box: "Junk- just hiss and long tones on both sides". Not part of original numbering scheme. 7 inch reel, acetate tape, speed unknown
Reel 72: "Sonata Dementia", undated: From box: "Legal speeches, Docket No. 8 1st Res (2nd App)". Not part of original numbering scheme. 7 inch reel, acetate tape, speed unknown
Reel 73: "Oedipus", undated: 1 and 2. Not part of original numbering scheme. 7 inch reel, polyester tape, speed unknown; Composer: Harry Partch
Reel 74: "Oedipus", ca. 1955: 1 and 2. Not part of original numbering scheme. 7 inch reel, polyester tape, speed unknown; Composer: Harry Partch
Reel 75: "Oedipus", undated: 3 and 4. Not part of original numbering scheme. 7 inch reel, polyester tape, speed unknown; Composer: Harry Partch
Reel 76: "Oedipus", ca. 1955: 3 and 4. Not part of original numbering scheme. 7 inch reel, polyester tape, speed unknown; Composer: Harry Partch
Reel 77: Beginning of "Bewitched", undated: Prologue, tail out. 7 inch reel, polyester tape, 7 1/2 ips; Composer: Harry Partch
Reel 78: "The Bewitched", undated: Side A: Scenes 4-7; Side B: Scenes 8-10 and Epilogue. Not part of original numbering scheme. 7 inch reel, polyester tape, 7 1/2 ips; Composer: Harry Partch
Reel 79: "The Bewitched", undated: Side A: Prologue; Side B: Scenes 1-3. Not part of original numbering scheme. 7 inch reel, polyester tape, 7 1/2 ips; Composer: Harry Partch
Reel 80: "Discourse and Intrusions", undated: Side A: Discourse; Side B: The Rose; The Crane; The Wind; The Waterfall; The Letter; The Street; Vanity. Not part of original numbering scheme. 7 inch reel, polyester tape, 7 1/2 ips; Composer: Harry Partch
Reel 81: "Discourse and Intrusions", undated: Copied from a tape, not complete. Not part of original numbering scheme. 7 inch reel, polyester tape, 7 1/2 ips; Composer: Harry Partch

Box 15

Reel 50: "Oedipus", 1954: Reel 3; scenes 10-13. Tom McGeary note: engineered by Partch; from original. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 51: "Oedipus", 1954: Reel 4; scenes 14-18. Tom McGeary note: engineered by Partch; from original. 10 1/2 inch reel, acetate tape,15 ips; Composer: Harry Partch
Reel 52: "The Bewitched", 1957: Reel 2; scenes 1-3 (prologue missing). 10 1/2 inch reel, polyester tape, 15 ips; Composer: Harry Partch
Reel 53: "The Bewitched", 1957: Reel 3; scenes 4-7. 10 1/2 inch reel, polyester tape, 15 ips; Composer: Harry Partch
Reel 54: "The Bewitched", 1957: Reel 4; scenes 8-10 and epilogue. 10 1/2 inch reel, polyester tape, 15 ips; Composer: Harry Partch
Reel 55: "The Bewitched" fragments, 1957: Tom McGeary note: Short excerpts appearing in backward succession from scene 6 to Prologue; recording session takes. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 56: "The Bewitched" fragments, 1957: Tom McGeary note: Short excerpts appearing in backward succession from scene 10 to scene 7. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 57: "Plectra and Percussion Dances", 1953: "Castor and Pollux -- A Dance for the Twin Rhythms of Gemini"; "Ring Around the Moon -- A Dance Fantasm for Here and Now"; "Even Wild Horses -- Dance Music for an Absent Drama". 10 1/2 inch reel, acetate tape, 7 1/2 ips; Composer: Harry Partch
Reel 58: "Plectra and Percussion Dances" fragments, 1953: Tom McGeary note: Tape is spliced into many short segments (some too short to identify); excerpts from "Castor and Pollux" and "Even Wild Horses" identified; Partch directing; also some unidentified drone chanting and electronic sounds. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 59: "Oedipus", ca. 1954: Tom McGeary note: Fragments; some appear from recording session, other from recording; Partch directing. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 60: "Oedipus", ca. 1954: Tom McGeary note: Fragments apparently from recording session; begins with Tiresias scene. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 61: "The Bewitched", 1957: Reel 1; Prologue and scene 1. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 62: "The Bewitched", 1957: Reel 2; Scenes 2-6. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 63: "The Bewitched", 1957: Reel 3; Scenes 7-10 and epilogue. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 64: "Oedipus", 1954: Reel 1: Introduction, Opening Scene, First Chorus, Tiresias Scene. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 65: "Oedipus", 1954: Reel 2: Second Chorus, Creon Scene, Jocasta Scene, Incidental Music, Third Chorus. 10 1/2 inch reel, acetate tape,15 ips; Composer: Harry Partch
Reel 66: "Oedipus", 1954: Reel 3: Messenger Scene, Fourth Chorus, Herdsman Scene, Oedipus Scene. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 67: "Oedipus", 1954: Reel 4: Fifth Chorus, Instrumental Commentary, Antiphony, Exit Oediput: Dance-Pantomime, Final Chorus and Coda. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 68: "Oedipus", 1954: Reel 4: Copy. 10 1/2 inch reel, polyester tape, 15 ips; Composer: Harry Partch
Reel 69: "Oedipus", 1954: Reel 4: Copy 2. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 70: Excerpts from "Plectra and Percussion Dances" and "Oedipus", 1954: "Even Wild Horses" (from "Plectra and Percussion Dances"): Act 1, Scene 1; Act 2, Scene 2; Act 3, Scene 2; "Oedipus": Scenes 3, 15, 16, 17, 18, and Coda. 10 1/2 inch reel, acetate tape, 15 ips; Composer: Harry Partch

Sub-Series 2: Papers

In some cases related correspondence may be found in adjacent folders.

Box 9

Folder 4: Letters from Partch to Lauriston (Larry) and Lucie Marshall, 1949-1970
Folder 5: Letters from Marshall to Partch, 1949-1968
Folder 6: Correspondence between Partch and others with enclosures, 1934-1959
Folder 7: Correspondence between Partch and Ben Johnston, 1949-1964: Copies of originals
Folder 8: Correspondence between Marshall and Henry Allen Moe (and others) of Guggenheim Foundation, 1949-1963
Folder 9: Letters to and from Larry Marshall regarding Partch, 1949-1966
Folder 10: Correspondence between Lauriston Marshall, Partch, and others, 1949-1952

Box 10

Folder 1: Correspondence, proposals, reports, receipts, and ledgers, 1949-1953: Mostly relating to the application and administration of Guggenheim and Research Corporation grants (principally at the University of California, Berkeley), including issuing of recordings (1 of 2)
Folder 2: Correspondence, proposals, reports, receipts, and ledgers, 1950-1952: Mostly relating to the application and administration of Guggenheim and Research Corporation grants (principally at the University of California, Berkeley), including issuing of recordings (2 of 2)
Folder 3: Marshall correspondence regarding distribution of recordings, 1952-1953: originals and copies
Folder 4: Copyright permissions and correspondence, sales records, receipts, mailing lists, and shipping orders related to Partch recordings, 1951-1958
Folder 5: Correspondence among various persons regarding "Bewitched" production, ca. 1956-1957: Mostly copies of correspondence between Harry Partch, Larry Marshall, Ben Johnston, Alwin Nikolais, and University of Illinois faculty members regarding commissioning and production of "The Bewitched"
Folder 6: Correspondence between Marshall and Johnston, 1950-1979: Originals and photocopies
Folder 7: Documents regarding Johnston Guggenheim application, 1958-1959: Includes copies of and original correspondence, application materials, brochures, and notes
Folder 8: Newspaper and magazine clippings, 1951-1974
Folder 9: Partch: Instrument specifications, ca. 1958: Partch's pencil drawings with dimensions for instruments
Folder 10: Photographs and slides of Partch at Gualala, ca. 1950 and 1976

Box 11

Folder 1: Correspondence regarding establishment of Marshall Collection, 1976-1986
Folder 2: "Sonata Dementia", undated: Bound, negative-image photostat of full score of composition by Harry Partch; score consists of title page and 34 pages reproduced on 19 leaves. See Box 14, Item 2 for the microfilm from which this printout was created.; Composer: Harry Partch
Folder 3: "A Cathode-Ray Tube Harmonic Generator for Musical Tone Production", 1950: Master of Science thesis by William Max Mueller; research undertaken as part of John Simon Guggenheim Memorial Foundation grant to Partch and Marshall
Folder 4: Correspondence between Partch and various persons of the Guggenheim Foundation, 1950
Folder 5: Carbon of tentative film script for U.S. Highball, 1957: Yellow Springs, Ohio (29 pp. with red pencil underlining)
Folder 6: Carbon copy of script for spoken introduction to Intrusions recording, undated
Folder 7: Brochures and publications, ca. 1951-1974
Folder 8: Brochures for Madeline Tourtelot films, undated
Folder 9: Brochures and announcements for Partch recordings, ca. 1953-1962
Folder 10: Programs of Partch concerts, ca. 1957-1972
Folder 11: Carbon copies of Marshall Collection correspondence and enclosures, 1949-1966

Item 1: 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.

Series 10: 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 16

Folder 1: Articles and Reviews, 1960s: Clippings of articles and reviews regarding Partch; grouped by decade only
Folder 2: Articles and Reviews, 1970s: Clippings of articles and reviews regarding Partch; grouped by decade only
Folder 3: Articles and Reviews, 1980s: Clippings of articles and reviews regarding Partch; grouped by decade only
Folder 4: Articles and Reviews, 1957: Clippings of articles and reviews regarding Partch
Folder 5: Articles and reviews, 1959: Clippings of articles and reviews regarding Partch
Folder 6: Articles and reviews, 1960: Clippings of articles and reviews regarding Partch
Folder 7: Articles and reviews, 1961: Clippings of articles and reviews regarding Partch
Folder 8: Articles and reviews, 1962: Clippings of articles and reviews regarding Partch
Folder 9: Articles and reviews, 1963: Clippings of articles and reviews regarding Partch
Folder 10: Articles and reviews, 1964: Clippings of articles and reviews regarding Partch
Folder 11: Articles and reviews, 1966: Clippings of articles and reviews regarding Partch
Folder 12: Articles and reviews, 1967: Clippings of articles and reviews regarding Partch
Folder 13: Articles and reviews, 1968: Clippings of articles and reviews regarding Partch
Folder 14: Articles and reviews, 1969: Clippings of articles and reviews regarding Partch
Folder 15: Articles and reviews, 1970: Clippings of articles and reviews regarding Partch
Folder 16: Articles and reviews, 1971: Clippings of articles and reviews regarding Partch
Folder 17: Articles and reviews, 1972: Clippings of articles and reviews regarding Partch
Folder 18: Articles and reviews, 1973: Clippings of articles and reviews regarding Partch
Folder 19: Articles and reviews, 1974: Clippings of articles and reviews regarding Partch
Folder 20: Articles and reviews, 1975: Clippings of articles and reviews regarding Partch
Folder 21: Arts in Society, 1962-63: Two issues, one with Partch essay: vol. 1 no. 2; vol. 2 no.3

Box 17

Folder 1: BMI, ca. 1970s: Booklets, brochures regarding Partch
Folder 2: "The Bewitched", 1975: Publicity, programs, for performances at UCSD and UCLA
Folder 3: CRI, 1974: Copies of promotional material
Folder 4: Capab Ballet Co., 1970-1971: Letters requesting permission to use music
Folder 5: Chazen, Judith K., and Cathy McIntyre, 1972: Class paper on Partch (SDSU)
Folder 6: Correspondence, 1958-1973: Letters to and from Mitchell, Emil Richards, Linda Schell, Alan Pluth, Oliver Evans, Partch, and Stephen Pouliot
Folder 7: D'Amico, Margarita, 1973: Letter and copy of article she wrote about Partch
Folder 8: "Delusion of the Fury", 1969: Reviews of production at UCLA
Folder 9: "Delusion of the Fury", 1966: Title page for score on vellum master; typescript and Partch's hand lettering
Folder 10: "Delusion of the Fury", 1968-1969: Program, publicity, correspondence regarding 1969 production at UCLA
Folder 11: "The Dreamer That Remains", 1972-75: Booklet, program, announcements, etc., for film screening
Folder 12: Film Catalogues, 1962-74: Catalogue listings for rental of Partch films
Folder 13: Film Screenings, 1964-74: Brochures for various screenings/presentations of Partch films
Folder 14: Genesis of a Music, 1971: Correspondence with various firms regarding new edition or reprint
Folder 15: Harry Partch Foundation, 1974-75: Correspondence between foundation and fundraising firm Moore, Walter, Trenbeth Assoc.
Folder 16: International Music Congress, 1968: Program for meeting, which included performance at Whitney Museum
Folder 17: Isabelle, Eugene, 1963: Paper or lecture text regarding Partch
Folder 18: Japanese magazine, ca. 1966: Unidentified Japanese magazine with Partch annotation "April '66? Tokyo"
Folder 19: McCormick, Robert, 1971-1972: Text of lecture on Partch
Folder 20: Unidentified correspondence, ca. 1969
Folder 21: Mitchell, Danlee, 1962-1965: Letters from Danlee Mitchell to Partch (about half in photocopy, half originals)
Folder 22: Music Equipment Catalogue, undated
Folder 23: Nealie Sullivan Award, 1966: Brochure for film, slide, lecture, and instrument exhibition at San Francisco Art Institute
Folder 24: New World Records, 1978: Rejected contract
Folder 25: Nin, Anais, undated: Program note for film "Anais Nin Observed: A Film Portrait of a Woman as an Artist" containing mention of Partch
Folder 26: Obituaries, 1974: Copies of Partch obituaries from magazines and newspapers
Folder 27: Partch, Harry, 1958-1971: Letters from Partch to Danlee Mitchell (original letters and postcards; 70 items)
Folder 28: "Revelation in the Courthouse Park", 1961: Program, announcement, newspaper clippings regarding production at Illinois

Box 18

Folder 1: Reviews, 1968-72: Reviews of various performances or recordings
Folder 2: Smithsonian Institution, undated: Flyer for Touring Performance Service (that was to have contained Partch program)
Folder 3: UCLA - Lecture-Concert, 1966: Announcement, programs, for lecture concert
Folder 4: UCSD Concert, 1968: Poster and program of concert at UCSD May 11 and 12, 1968
Folder 5: "U.S. Highball", 1976: Program for l976 performance at Los Angeles County Museum of Art
Folder 6: Ulysses, 1970: Programs of performances at UCSD
Folder 7: United States Information Agency, 1973: Letter regarding photographs
Folder 8: University of Hawaii, 1971: Program for Festival of the Arts of this Century
Folder 9: University of Oaklahoma, 1956: Poster announcing Partch lecture, April 30, 1956
Folder 10: "Water! Water!", 1962: Newspaper clippings regarding University of Illinois production
Folder 11: Whitney Museum, 1968: Programs and publicity material for performances at Whitney Museum

Box 38

Folder 1: The Tuning System of Harry Partch, 2007

Series 11: 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 6

Folder 6: "The Dreamer That Remains", 1972: Outside cover page labeled "For Stephen" with special dedication to Pouliot in india ink on verso of outside cover page. Includes one page of timings, manuscript score paginated 1-46, plus four-leaf bifolium of additional material (12-1/2" x 9-1/2")

Box 18

Folder 12: Inventory, ca. 1998
Folder 13: "The Dreamer That Remains", 1968-72: Editing outlines and editing notes; manuscripts, typescripts, and photocopies. Includes Pouliot research notes and memos, diary memo written on a day with Partch, partial transcript of Pouliot interview with Partch about film
Folder 14: "The Dreamer That Remains", ca. 1972: Drafts and typescript transcriptions of dialogue, a journal about a trip with Partch, and biographical information about Partch
Folder 15: "The Dreamer That Remains", ca. 1972: Photocopies of handwritten version of typed transcripts in folder 14.
Folder 16: Writings about Partch by Pouliot and others, 1972: Includes: (1) Typescript of article by Pouliot, "Filming the Work of Harry Partch: Or, Get to Know Your Genius" that appeared in The American Cinematographer; cover (photocopy) + 6 pages in original typescript. Felt-pen annotations (by ?Pouliot) on cover. (2) As above, all pages photocopy. (3) Typescript of article by John Monsour, "Filming Harry Partch" that appeared in The American Cinematographer; 5 pages + chart. (4) Undated and untitled typescript memoir of Partch by Pouliot; 6 pages + bio. statement (5) Remembrance of Partch by Lou Harrison (1963), handwritten by Pouliot; 3 pages.
Folder 17: 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 18: "The Letter", 1949-50: 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 19: "The Dreamer That Remains", 1972: Partch's initial, "very tentative verbal outline", 6-page typescript (carbon copy)
Folder 20: "The Dreamer That Remains", 1972: Material relating to production and shooting. (1) Pouliot's color illustration for neon bubble prop used in The Dreamer. (2) Pouliot's shooting script for The Dreamer, Part III, dated November 10, 1972. Title page + 4 pages, typescript with MS additions. Includes tentative rehearsal schedule. With contemporary photocopy. (3) Sets of story boards (1): 14-page story board illustrating how The Dreamer will be shot; with photocopy; felt-tipped pen on lined paper (4) Set of story boards (2): 9-page story board, pencil on Graphic Film Corp. pre-printed worksheet; with photocopy. (5) Typed bar-by-bar breakdown of musical composition for camera; undated; 7 pages plus cover sheet (titled "DREAMER"). (6) Manuscript bar-by-bar breakdown of musical composition; ballpoint pen on lined notebook paper; n.d., n.p.; title page + 8 pages. (7) Pouliot's camera-shot breakdown; ?grease pencil on 6 pages. (8) Recording notes for The Dreamer; 8 pages in pencil on yellow grid paper. (9) Editing outline for Part III; red ball-point pen on gridded yellow paper; 8 pages. (legal size) (10) "Shooting Plan for The Dreamer That Remains, Parts I & II", dated Nov. 16-72; title paged + six pages (numbered 1-5 with insert): Original (felt-tipped pen), plus two photocopies
Folder 21: "The Dreamer That Remains", undated: Eight sets of camera/editing logs of scenes. Typescript
Folder 22: "The Dreamer That Remains", undated: Outlines, lists, timetables, schedules for shooting. Photocopies and typescripts
Folder 23: "Harry Partch: The Dreamer That Remains", 1972: Treatments/outlines of film portrait. (1) Typescript "Harry Partch: The Man and his Music" dated March 8, 1972; cover + 6 pages (2) Photocopy "Harry Partch: The Man and his Music" dated April 2, 1972; typescript, cover + 7 pages. (3) Photocopy "Harry Partch: The Man and his Music" dated April 25, 1972; cover + 7 pages; typescript, pencil annotations by Partch. (4) Photocopy "Harry Partch: The Man and his Music" dated April 25, 1972; cover (marked "Partch copy") + 12 pages; typescript, with pencil annotations (some by Partch). (5) Photocopy "Harry Partch: A Study in Loving" dated June 5, 1972; typescript, cover + 10 pages (6) Photocopy of Film Thesis Proposal, "Harry Partch: A Study in Loving" dated July 23, 1972; typescript, cover + 10 pages (7) Photocopy of "Story Outline"; 19-page typescript (8) Photocopy "Film Script/Story Outline"; typescript, 22 pages. (9) Photocopy of "Structure of the Film"; typescript, paginated 6- 12 (10) Photocopy of script, "Harry Partch: A Study in Loving/ First Draft: 10-27-72"; typescript, cover page + 29 pages. (11) Photocopy, as above; without title page, but with ink and pencil annotations (12) Photocopy of script, "Harry Partch/ Second Draft: 12-20-72"; typescript, cover + 38 pages. (13) Photocopy of working script; no title or date; typescript, 22 pages. (14) Two loose typescript sheets of scenario; undated
Folder 24: "The Dreamer That Remains", 1973: Editing notes for film; typescripts, carbons, manuscript.
Folder 25: Copies of: 1/1, The Reader, and American Cinematographer., 1974, 1980, 1994

Box 38

Folder 4: Enclosure 3: Harry Partch, 1997: Prepublication copy. Later published by Minnesota Composers Alliance

Oversize Textile Box 1

Item 4: Guayabera shirt, ca. 1970s: Recognizable as worn by Partch in photographs and in The Dreamer That Remains. Purple with blue trim. 2011.350382.001
Item 5: Guayabera shirt, ca. 1970s: Recognizable as worn by Partch in photographs and in The Dreamer That Remains. Denim with embroidery. 2011.350982.002

Series 12: Peter Yates Harry Partch Collection

This subseries consists of photocopies of materials available in the University of California, San Diego's Mandeville Special Collections Library's Peter Yates Collection (MSS 0014).

Box 19

Folder 1: Correspondence about obtaining collection, 1979, 1987
Folder 2: Correspondence and enclosures, 1952-1972: Primarily between Partch and Yates
Folder 3: Correspondence, 1954-1972: Between Yates and various others
Folder 4: Scenario for "The Bewitched" (2 pp.) and Libretto for "Water! Water!" (62 pp.), undated: Mimeographed copies
Folder 5: Programs, brochures, and newspaper or magazine clippings, undated

Box 38

Folder 6: Correspondence, 1981: Between Partch and Yates

Series 13: Subject Files

This series consists of original materials collected or created for the Archive, not part of individual collections above.

Box 19

Folder 6: Albuquerque, New Mexico, ca. 1914-1919: Documents about Partch and his family at Albuquerque
Folder 7: 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.
Folder 8: Arnautoff, Phillip, 2001: "Remembering Harry"
Folder 9: Barzun, Jacques, 1983: Correspondence between Thomas McGeary and Barzun; McGeary?s notes on the Partch letters, etc., in Barzun's papers at Columbia University.
Folder 10: Beckwith, John, 1958-1964: Photocopies of letters between Partch and Beckwith (provided courtesy of Danlee Mitchell) (1957-87)
Folder 11: Benson, Arizona, undated: Magazines, notes, etc., about Benson, Arizona; with McGeary notes about possible materials about Benson for further investigation
Folder 12: Biglow, Bill, 1971-1973: Photocopies of letters to Partch; copies courtesy of Bob Gilmore
Folder 13: Bookman, Steven, 1973: Photocopy of letter from Partch to Steven Bookman (provided courtesy of Johnny Reinhard)
Folder 14: Brant, Henry, 1982 and 1985: Transcript of interview between Betty Freeman and Henry Brant (tape in Harry Partch Archive) (1985); photocopy of relevant portion of interview with Brant from Soundpieces: Interviews with American Composers (1982)
Folder 15: British Harry Partch Society, undated: Various newsletters and publications
Folder 16: Cage, John, 1980: Note-O-Gram carbon from Cage to McGeary about Partch
Folder 17: Cameron, Janet, 1981: Seminar paper on Li Po Settings
Folder 18: Carnegie Corporation of New York, 1934-1940: Photocopies of letters, etc., regarding Partch's 1934-35 research trip to England
Folder 19: Copland, Aaron, 1979: Letter from Copland to Tom McGeary about Partch. [Note: Photographs from Box 19 Folder 19 "Cecil Charles, 1969" were transfered to Box 28 folder 1 when the collection was processed in 2007. However, the collection finding aid was not updated to reflect this transition until October of 2017. Box 19 Folder 19 is now updated as "aaron copland, 1979," which was originally Box 19 Folder 20, the remaining folders in Box 19 have also been updated accordingly.]
Folder 20: Couper, Mildred, 1986: 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)
Folder 21: Cunningham, Imogene, 1987: Photocopied proof sheets of Partch photographs
Folder 22: Daniel, Oliver, 1985: Transcript of interview with Betty Freeman (tape of interview is series 18, box 33, item 65)

Box 20

Folder 1: 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. Includes photocopy of the original india-ink-on-paper score of "Before the Cask of Wine".
Folder 2: 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)
Folder 3: Drummond, Dean, 1966-1972: Photocopies of letters from Partch to Drummond 1966-1972 (photocopies courtesy of Dean Drummond)
Folder 4: Federal Writers' Project, Arizona, 1936: Photocopies of letters about Partch's employment in FWP; plus McGeary correspondence and other materials about the FWP
Folder 5: Federal Writers' Project, Calif, 1979-1980: Photocopies of McGeary correspondence about Partch's employment in FWP
Folder 6: Flanders/Capers, 1980: Letters from Peter Flanders and Roberta Fansler Capers to McGeary about their knowledge of Partch and their families
Folder 7: French, Loran ("Cloudy") and Tilda, 1963-1970: Photocopies of letters from Partch to them
Folder 8: Gaburo, Kenneth, 1979-1986: Correspondence between McGeary and Gaburo (and others) relating to Partch publishing projects and Lingua Press
Folder 9: Garland, Peter, 1970-73: Photocopies of correspondence between Garland and Partch. Largely duplicates of items in the Harry Partch Estate Archive, RS 12/5/45, box 5, folder 17
Folder 10: Granade, Andrew, 2007: "When Worlds Collide: Harry Partch and the Aesthetics of Avant-Garde Film Music"
Folder 11: Hanson, Howard, 1979: Letter from Hanson regarding Partch
Folder 12: Harrison, Lou, 1966-70: Photocopies of sections relevant to Partch from A Lou Harrison Reader (mostly reproduction of letters between Partch and Harrison)
Folder 13: Haverlin, Carl, undated: Photocopy of MS score for Partch's Jine the Cavalry, now owned by Fred Bennet, Northridge, Calif.; also photocopy of Haverlin's published arrangement of Jine the Cavalry; also McGeary corr. with Bennet. One copy of score of Jine the Cavalry is series 14, box 28, item 7.
Folder 14: Historical Pictures Service, 1944: Reproductions of two photographs of Partch
Folder 15: Illini Union Student Activities, 1961-1962: Photocopies of internal documents about Water! Water! production at the University of Illinois
Folder 16: Institute of International Education, New York, 1934-1935: Printout from microfilm of documents from their files (including letters from Partch) regarding Partch's research trip to England. Further duplication is prohibited without permission of original source.
Folder 17: Jacobs, Dr. Jim and Marian, 1969-1973: Photocopies of letters from Partch to them
Folder 18: Johansen, Gunnar, Blue Mound, Wis., 1953-78: 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
Folder 19: Johnston, Ben, 1956-88: Articles, clippings, and writings about Partch, including photocopies of letters to and from Partch; grant applications; corr. with various persons; publications and interview transcript
Folder 20: Kassel, Richard, 1991: Copy of article about Partch's indian music transcription (with cassette) from Musicworks 51
Folder 21: Keats, Donald, 1957: Letter from Keats to Betty Freeman describing Partch's stay in Yellow Springs, Ohio
Folder 22: Lauterer, Arch, 1987: Various materials about Lauterer, director of Mills College production of King Oedipus
Folder 23: League of Composers/N.Y. Public Library Museum and Library of Performing Arts, 1944: Photocopy of concert program (at N.Y. Public Library)
Folder 24: Library of Congress, Music Division, 1980-1989: correspondence with Thomas McGeary about their Partch scores
Folder 25: Library of Congress - Elizabeth S. Coolidge Collection, 1932: Photocopies and notes of correspondence between Partch and Coolidge; includes McGeary notes on the collection.
Folder 26: Library of Congress - Serge Koussevitzky Music Foundation, 1966-1974: Photocopies and notes of correspondence regarding commissioning of Delusion of the Fury
Folder 27: Library of Congress - Slonimsky Collection, 1963-1965: Photocopies and notes of materials sent by Partch to Nicolas Slonimsky, including draft scenario of Delusion of the Fury ; includes McGeary notes on the collection
Folder 28: Luening, Otto, 1980-87: 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
Folder 29: McChesney, Robert and Mary, 1978: Correspondence with them, photocopies of materials about them and clippings about Partch
Folder 30: McClure, John (Columbia Records), 1968-1972: Copies of letters from Partch

Box 21

Folder 1: McGeary, Thomas, 1979-89: Correspondence with various persons and organizations in course of collecting material for the Archive.
Folder 2: McGeary, Thomas/Timings for CDs and DVDs, c. 2004: Notes from Partch and Danlee Mitchell about an unidentified recording project
Folder 3: McGeary, Thomas/Music for Petals, c. 2005: Photocopies of the score of "And on the Seventh Day Petals Fell in Petaluma" with annotations for a recording project
Folder 4: McMillan, Ann E., 1942: Photocopy of letter from Partch
Folder 5: Mills College, Oakland, Calif., 1952: Photocopies of material relating to production of King Oedipus
Folder 6: Mitchell, Danlee, 1981: McGeary correspondence with, and copies of various materials
Folder 7: Moldenhauer Archives (Harvard University), 1959: McGeary correspondence about their Partch holdings; photocopy of letter from Partch to Moldenhauer
Folder 8: Moore, Douglas, Columbia University Library, Special Collections Department, 1952-1959: Photocopies of Partch letters to Moore. Further duplication is prohibited without permission of original source
Folder 9: New York Public Library, 1978-87: McGeary correspondence about their Partch holdings
Folder 10: Nikolais Dance Company, Alwin, 1957: Photocopies of letters from Partch and of photos of The Bewitched production
Folder 11: Oliveros, Pauline, 1985: Photocopy of letter from Oliveros to Betty Freeman about Partch
Folder 12: Onslow-Ford, Gordon, 1987: McGeary correspondence with, and material about his paintings
Folder 13: Partch Family, 1980-89: Photocopies of various materials about Virgil and Jenny Partch; land deeds and homestead claims in Arizona; material regarding Partch and brother and sister
Folder 14: Partch, Harry/ And on the Seventh Day Petals Fell in Petaluma, undated: Preliminary notes, scenarios, etc. (photocopies of material in the Harry Partch Estate Archive)
Folder 15: Partch/Harry/ BMI brochures, undated: Brochures about Partch distributed by BMI

Box 22

Folder 1: Partch, Harry/ The Bewitched, 1955-57: Scenarios: Originals and photocopies of scenarios to The Bewitched, from various sources
Folder 2: Partch, Harry/Birth and death certificates, 1974-80: Photocopies of birth and death certificates
Folder 3: Partch, Harry/Bitter Music, ca. 1940: Printout from microfilm in the Marshall Collection (series 9, sub-series 1, box 14, item 1)
Folder 4: Partch, Harry/Bitter Music (musical examples), undated: Printout of music examples for Bitter Music, from microfilm in the Marshall Collection (series 9, sub-series 1, box 14, item 1)
Folder 5: Harry Partch/Composers Recording, Inc., 1963-1973: Correspondence between CRI and Partch regarding Petals and The Bewitched recordings (photocopies of originals at CRI, New York)
Folder 6: Harry Partch/Concert programs, 1957-83: Photocopies and originals of concert programs during Partch's life and after his death

Box 23

Folder 1: Harry Partch/Correspondence, 1952-1959: 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
Folder 2: Harry Partch/Da Capo Press, 1968-1974: Correspondence between Da Capo and Partch regarding second edition of Genesis of a Music (photocopies of material in the Harry Partch Estate Archive)
Folder 3: Partch, Harry/The Dreamer That Remains, 1972: Special dedicatory page to Stephen Pouliot (photocopy of original vellum master sheet in the Harry Partch Estate Archive)
Folder 4: Partch, Harry/End Littoral, ca. 1947: Printout of microfilm in the Marshall Collection
Folder 5: Partch, Harry/"Even Wild Horses", undated: Photocopy of original typescript scenarios in the Peter Yates papers, UCSD library, Mandeville Department of Special Collections
Folder 6: Partch, Harry/"Exposition of Monophony", 1933: Photocopy of original typescript now owned by Jonathan Glasier, San Diego
Folder 7: Partch, Harry/"Life in the Houses of Technitution", 1953, 1980: Photocopy of facsimile printed in Allos: 'Other' Language, ed. Kenneth Gaburo
Folder 8: Partch, Harry/"Manual on the Maintenance and Repair of . . . Musical Instruments", 1963: Photocopies of original in the Harry Partch Estate Archive, San Diego (47 pp.)

Box 24

Folder 1: Partch, Harry/ Bill of lading for moving and letter to the cast of "Bewitched", 1957, 1971
Folder 2: Partch, Harry/Musicians as "Artists", 1947: Photocopy of typescript (original in the Harry Partch Estate Archive) (12 pp.)
Folder 3: Partch, Harry/"On G-String Formality", 1946: Printout of typescript from microfilm in Marshall Collection
Folder 4: Partch, Harry/Vivian Perlis, 1974, 1984: Transcript of oral history interview with Partch (original tape at Yale University; copy of tape series 18, box 33, item 75-78)
Folder 5: Partch, Harry/Published writings, 1967-78: Photocopies of Partch's published writings
Folder 6: Partch, Harry/"A Quarter-Saw Section of Motivations and Intonations", 1967: Original mimeograph transcript of talk Partch gave at ASUC meeting, Tanglewood, Preliminary leaf + 13 pp.
Folder 7: Partch, Harry/Recordings, ca. 1957: Brochures for recordings; originals and photocopies
Folder 8: Partch, Harry/"Resume of Oral Exposition" and "Resume of Exposition of Monophony", ca. 1932: Photocopies of originals now at the Moldenhauer Archive, Harvard University
Folder 9: Partch, Harry/Revelation in the Courthouse Park, undated: Preliminary drafts, notes, scenarios; plus draft scenarios for works never composed (photocopies of material in the Harry Partch Estate Archive 12/5/45, series 1, subseries 1, box 1, folders 34, 38 and 39)
Folder 10: Partch, Harry/"Rhythmic Motivations of Castor and Pollux and Even Wild Horses", undated: Photocopy of original typescript in the Peter Yates papers, UCSD library, Mandeville Department of Special Collections) (8 pp.)
Folder 11: Partch, Harry/Study for Harmonic Canon I and Kithara I, undated: Photocopy of original manuscript (in the Harry Partch Estate Archive 12/5/45, series 3, box 15, folder2)
Folder 12: Partch, Harry/U.S. Highball (two draft librettos and pocket notebook Partch carried on trip), undated: Photocopies of originals (in the Harry Partch Estate Archive 12/5/45, series 1, subseries 1, box 1, folders 43 and 44)
Folder 13: "Harry Partch: el ultimo sonador de la musica", 1975: Article about Partch in 7^o Dia, the Sunday magazine of the Venezuelan newspaper "El Nacional"
Folder 14: Partch, Harry/Water! Water! (press release and program), 1962: Copy of press release and program for original University of Illinois production
Folder 15: Porter, Quincy, 1958, 1988: Photocopy of letter from Partch to Porter
Folder 16: Record jackets, undated: Photocopies of record jackets of Partch's Gate Five and commercial recordings

Box 25

Folder 1: Richards, Emil, 1963-1974: Photocopies of letters from Partch to Richards
Folder 2: Siwe, Tom, 1974: Originals and photocopies of various materials regarding Partch
Folder 3: Southwest Museum, Pasadena, Ca, ca. 1930s: Photocopies of Partch's transcription of Indian songs. Further duplication is prohibited without permission of original source
Folder 4: Stern, Gerd, 1970-93: McGeary correspondence with Stern, and other materials about Partch
Folder 5: Swanson, Jerry, 1961-74: Small group of materials about Partch from performer in Water! Water!; include photocopy of letter from Partch
Folder 6: Temperley, Nicholas, 1961-77: Original typescript of unpublished review article about Partch's Revelation, with photos. Photos removed to Photograph Box
Folder 7: Thomson, Virgil, 1942-1953: Photocopies of letters between Partch and Thomson (originals at Yale University). Further duplication is prohibited without permission of original source
Folder 8: Tourtelot, Madeline, 1986-87: McGeary correspondence with, and photocopies of brochures of her films about Partch.
Folder 9: Tuttle, Preston, 1979, 1986: Letter from Tuttle to Ben Johnston about Partch
Folder 10: University of Southern California, 1979-82: Correspondence with University archivist and emeritus faculty member Pauline Alderman about Partch at USC
Folder 11: University of Wisconsin (1 of 2), 1945, 1979, 1987: Correspondence with Library and Press about their Partch holdings; includes photocopies of two letters from Scudder MeKeel
Folder 12: University of Wisconsin (2 of 2), 1944-49: Photocopies of various materials from UW Press, UW Archives, and local newspapers collected by Ron Wiecki (photocopies courtesy of Ron Wiecki)
Folder 13: University of Wisconsin Press, 1949-1985: Photocopies of selected letters from and about Partch (photocopies courtesy of Ron Wiecki)

Box 26

Folder 1: Wiecki, Ron, 1987-88: Correspondence with and draft copy of an article about Partch
Folder 2: Yeats, W. B., 1977-87: Photocopies of Yeats published correspondence about Partch; copies of other items and Yeats's King Oedipus
Folder 3: Young, Ella, 1951, 1982: Partch letter to Young (original at UCLA library)

Series 14: Musical Scores

Blue-line original or photocopies of Partch autograph scores. Assembled from various sources.

Box 6

Folder 4: Ben Johnston Transcription Project Scores and Correspondence, ca. 1980: Includes scores for Li Pos and 11 Intrusions as well as correspondence and notes from Ben Johnston, Mark Behm, Jan Cameron, and Larry Polonsky.
Folder 5: "Plectra and Percussion Dances: Castor and Pollux", 1952: Photocopy of original score.

Box 26

Folder 4: "Barstow", 1941: Photocopy of original (now missing) from Harry Partch Estate Archive.
Folder 5: "Barstow", 1954: Photocopy of original at Moldenhauer Archive, Harvard University
Folder 6: "Two Settings from Finnegan's Wake": "Isobel" and "Annah the Allmaziful", 1944: Photocopy
Folder 7: "Jine the Cavalry", 1963: Photocopy
Folder 8: "My Heart Keeps Beating Time", 1929: From an original at Brown University Library. Also includes correspondence with the New York Public Library and the Copyright Office about obtaining reproduction rights.
Folder 9: "Polyphonic Recidivism on a Japanese Theme", 1945: Photocopy of original in Harry Partch Estate Archive (12/5/45 series 3 box 11 folder 3)
Folder 10: "U.S. Highball", undated: Chromolodeon part. Photocopy
Folder 11: "U.S. Highball", 1943: Photocopy of original in Harry Partch Estate Archive (12/5/45 series 3 box 11 folder 8)

Box 39

Folder 3: "Revelation in the Courthouse Park", 1960: Photocopy

Item 4: "The Dreamer that Remains" and "The Letter", 1972

From Pouliot Collection. Two copies of "The Dreamer that Remains", the second with Partch's final revisions and the first without. One copy of "The Letter: A Depression Message from a Hobo Friend", as rewritten for the Freeman-Pouliot film.

Item 5: "Revelation in the Courthouse Park", 1960

From Barnard Hewitt Collection

Item 6: "Water! Water!", 1961

From Barnard Hewitt Collection. Also includes a program from a performance at the Illini Union, a list of recorded excerpts and the manuscript of a "New 10th Prologue for Recording".

Item 7: "Revelation in the Courthouse Park", 1960

Copy used by John Garvey in UIUC production; purchased from private party in Britain in 2002

Item 8: "The Bewitched", c. 1957

Copy used by John Garvey in UIUC production; donated by member of Garvey family

Item 9: "Delusion of the Fury: A Ritual of Dream and Delusion", 1966

Work copy used for UCLA production; cover is one of three made by wife of Emil Richard; purchased from Clay Grossman, Chicago.

Series 15: Photographs

These boxes contain photographic material (slides, prints, and negatives transferred from various collections and/or folders

Box 27

Folder 1: Three Acts from "The Bewitched", 1957: Robert Kostka Collection Folder 4, taken at WTTW-TV
Folder 2: Harry Partch, 1972: Betty Freeman Collection Folder 7
Folder 3: Harry Partch, ca. 1950s: Photograph by Imogene Cunningham
Folder 4: Harry Partch, undated: Lynn Ludlow Collection Folder 1
Folder 5: Champaign Studio, ca. 1957-62
Folder 6: Harry Partch and Instruments, ca. 1970: Jean Cutler Collection Folder 17. Some negatives
Folder 7: Partch's Photograph Album, undated: Jean Cutler Collection Folder 18. Some negatives

Box 28

Folder 1: "Delusion of the Fury", 1969: Production photographs (both black and white), negatives, and contact sheets taken by Cecil Charles Spiller in 1969 production of Delusion of the Fury at UCLA. [Note: Photographs from Box 19 Folder 19 "Cecil Charles, 1969" were transfered to Box 28 folder 1 when the collection was processed in 2007. However, the collection finding aid was not updated to reflect this transition until October of 2017. Box 19 Folder 19 is now updated as "aaron copland, 1979," which was originally Box 19 Folder 20, the remaining folders in Box 19 have also been updated accordingly.]
Folder 2: Harry Partch, 1972: Stephen Pouliot Collection Folder 6
Folder 3: "Rotate the Body", undated: Color slides (duplicates of slides taken by Danlee Mitchell)
Folder 4: "Delusion of the Fury", ca. 1969: Photographs by Malcolm Lubliner
Folder 5: "Oedipus", 1952, 1986: Time-Life photographs
Folder 6: Ratio Keyboard, undated: Color photographs of originals owned by Jonathan Glassier, San Diego. Some negatives
Folder 7: "Revelation in the Courthouse Park", 1961: From the Nicholas Temperley folder. Photographs from UIUC public information office.

Box 29

Folder 1: Harry Partch, ca. 1950s-1980s: Photographs by various persons folder. Photographs of instruments, performances, and Partch himself
Folder 2: Harry Partch, undated: Taken by Mark Stevens.
Folder 3: "Water! Water!", undated: Duplicates of color slides taken by Danlee Mitchell

Box 38

Folder 2: "The Bewitched", 1975: From the Danlee Mitchell Collection
Folder 5: Partch, Harry: Residences, 1999

Series 16: Bibliography Project files

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.

Box 26

Folder 12: Bibliography additions
Folder 13: 1930s

Box 29

Folder 4: 1940s
Folder 5: 1950-1954
Folder 6: 1955-1959

Box 30

Folder 1: 1960-1964
Folder 2: Obituaries
Folder 3: 1965-1969
Folder 4: Review of Genesis, first and second edition
Folder 5: 1970-1974
Folder 6: Genesis 1-19
Folder 7: Genesis 20-39

Box 31

Folder 1: Genesis 40-59
Folder 2: Genesis 60-79
Folder 3: Genesis 80-99
Folder 4: Genesis 100-118
Folder 5: Genesis 119-131 (reviews of first edition of Genesis)
Folder 6: Partch - unsorted articles

Box 32

Folder 1: Bibliography additions - unsorted, undated

Series 17: Oral History Tapes

Includes duplicate cassette tapes at end of box

Box 33

Folder 1: Interviews, Vol. 1

Item 1: Interview with Lou Harrison (composer) about Harry Partch, 1978: Aptos, Calif., interviewed by Ben Johnston and Tom McGeary. Digitized July 2012.
Item 2: Interview with Lou Harrison (concluded), 1978: Digitized July 2012.
Item 3: Discussion with Chris Forster (instrument builder and composer) about Harry Partch, 1978: Others present: Ben Johnston, Tom McGeary, Mark Behm, and John ; San Francisco, Ca.,
Item 4: Discussion with Chris Forster (concluded), 1978
Item 5: Interview with John and Pat Wright (painter) about Harry Partch, 1978: Inverness, Ca., interviewed by Ben Johnston and Tom McGeary
Item 6: Interview with Robert (painter) and Mary (sculptress) McChesney about Harry Partch, 1978: Petaluma, Ca., interviewed by Ben Johnson and Tom McGeary
Item 7: Interview with Francis Crawford (dentist) about Harry Partch, 1978: Petaluma, Calif., interviewed by Ben Johnston and Tom McGeary
Item 8: Interview with Francis Crawford (concluded), 1978
Item 9-11: Interview with Larry (Lauriston) Marshall (retired physicist) about Harry Partch, 1978: Gualala, Calif., interviewed by Ben Johnston and Tom McGeary. Digitized July 2012.
Item 12: Interview with George Everson (retired; formerly at Radiation Lab., UC Berkeley), 1978: Gualala, Calif., interviewed by Ben Johnston and Tom McGeary; also present: Larry Marshall

Folder 2: Interviews, Vol. 2

Item 13: Interview with Ruth McNamee (widow of Jimmie McNamee, owner of McNamee's Store, Gualala) about Harry Partch, 1978: Gualala, Calif., interviewed by Ben Johnston, Tom McGeary, and Larry Marshall.
Item 14-15: Interview with Lucie Marshall (wife of Larry) about Harry Partch, 1978: Gualala, Calif., interviewed by Ben Johnston and Tom McGeary
Item 16: Interview with Lucie and Larry Marshall about Harry Partch, 1978: Gualala, Calif., interviewed by Ben Johnston and Tom McGeary
Item 17: Interview with Ruth McNamee (owner of store at Gualala, Ca., when Partch lived there in 1948-50), 1978: Interview conducted by Larry and Lucie Marshall Gualala, Ca.
Item 18-19: Interview with Gordon Onslow-Ford (painter) about Harry Partch, 1978: Inverness, Calif., interviewed by Ben Johnston and Tom McGeary
Item 20: Interview with Henry Brant about Harry Partch, 1980: Del Mar, Calif., (at Bert Turetsky's home); interviewed by Danlee Mitchell; (tape courtesy of Danlee Mitchell)
Item 21-22: Interview with Gunnar Johansen (Blue Mound, Wis.) about Harry Partch, 1978: Interviewed by Ben Johnston & Tom McGeary
Item 23-24: Interview with Barnard Hewett about Harry Partch, 1978: Champaign, Ill., interviewed by Ben Johnston & Tom McGeary

Folder 3: Interviews, Vol. 3

Item 25: Interview with Jack McKenzie about Harry Partch, 1978: Urbana, Ill.; interviewed by Ben Johnston
Item 26: Interview with Pia Gilbert about Harry Partch, 1978: Los Angeles, interviewed by Ben Johnston and Tom McGeary
Item 27: Interview with Carl Haverlin about Harry Partch, 1978: Northridge, Calif., interviewed by Ben Johnston and Tom McGeary
Item 28: Interview with Dr. and Mrs. James Jacobs about Harry Partch, 1979: Los Angeles (Encino); interviewed by Ben Johnston and Tom McGeary
Item 29: Interview with Will Ogdon about Harry Partch, 1979: U.C.S.D., interviewed by Ben Johnston and Tom McGeary
Item 30: Interview with David and Susan Ward-Steinman about Harry Partch, 1979: La Mesa, Calif., interviewed by Ben Johnston and Tom McGeary
Item 31: Interview with Dr. Raymond Weston about Harry Partch, 1970: Beverly Hills, Calif., interviewed by Ben Johnston and Tom McGeary
Item 32: Interview with Mr. & Mrs. French about Harry Partch, 1979: Whittier, Calif., interviewed by Ben Johnston and Tom McGeary
Item 33: Side A: Interview with Frenches concluded; Side B: Interview with Katie Bjornson about Harry Partch, 1979: La Mesa, California, interviewed by Ben Johnston and Tom McGeary
Item 34: Interview with Jon & Jonathan Glasier about Harry Partch, 1979: San Diego, interviewed by Ben Johnston and Tom McGeary; also present Jonathan's wife Elizabeth
Item 35: Side A: Interview with Glasiers concluded; Side B: Soundtrack of film "The Music of Harry Partch", 1979: Produced by KPBPS-TV, San Diego State University. Includes performance of "Daphne of the Dunes"
Item 36: Interview with Betty Freeman about Harry Partch; Beverly Hills, 1978: Interviewed by Ben Johnston and Tom McGeary (also present Stephen Pouliot and David Cloud)

Folder 4: Interviews, Vol. 4

Item 37: Interview with Betty Freeman about Harry Partch; Beverly Hills, 1978: Interviewed by Ben Johnston and Tom McGeary (also present Stephen Pouliot and David Cloud)
Item 38-39: Second Interview with Betty Freeman about Harry Partch, 1979: Beverly Hills, interviewed by Ben Johnston and Tom McGeary
Item 40-42: Interview with Emil Richards about Harry Partch, 1979: Hollywood, Ca., interviewed by Ben Johnston and Tom McGeary; (also present, Celeste Richards)
Item 43-45: Interview with Erv Wilson about Harry Partch, 1979: Highland Park (Los Angeles); ; interviewed by Ben Johnston and Tom McGeary. Side B, Tape 45: Interview with Peter Farrell about Harry Partch; U.C.S.D.; 10. Jan. 1979; interviewed by Ben Johnston and Tom McGeary
Item 46: Interview with Dr. Warren Gilson about Harry Partch, 1979: Madison, Wisc., interviewed by Tom McGeary
Item 47-48: Interview with Otto Luening about Harry Partch, 1979: New York; interviewed bv Ben Johnston

Folder 5: Interviews, Vol. 5

Item 49: Interview with Oliver Daniel about Harry Partch, 1979: New York, interviewed by Ben Johnston
Item 50: Interview with Marshall Glasier about Harry Partch, 1979: New York, interviewed by Ben Johnston
Item 51: Interview with Dean Drummond about Harry Partch, 1979: New York, interviewed by Ben Johnston
Item 52: Reminiscences of Harry Partch by Gordon Onslow-Ford with Betty Freeman, 1977: Beverly Hills, Calif., also with Luchita Mullican; tape gift of Betty Freeman; interview conducted at the home of Betty Freeman
Item 53-54: Interview with Harold and Bertha Driscoll about Harry Partch, 1979: La Mesa, California, interviewed by Ben Johnston and Tom McGeary
Item 55-56: Interviews with Harry Partch, Danlee Mitchell, and Jim Aikenhead for soundtrack of film The Dreamer that Remains, undated: Interviews conducted (mostly) by Stephen Pouliot; Encinitas, Calif.; Gift of Betty Freeman (producer of film)
Item 57: Interview with Jack Logan about Harry Partch, 1979: San Diego, interviewed by Ben Johnston
Item 58: Interview with Pauline Oliveros about Harry Partch, 1979: U.C.S.D., interviewed by Ben Johnston
Item 59: Interview with John Chalmers about Harry Partch, 1979: Conducted at North Texas State University, Denton, TX, interviewed by Tom McGeary
Item 60: Interview with Ben Johnston about Harry Partch, 1983: Urbana, Illinois

Folder 6: Interviews, Vol. 6

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

Folder 7: Interviews, Vol. 7

Item 73-74: Interview with John Garvey about Harry Partch, 1979: Urbana, Illinois, interview conducted by Ben Johnston
Item 75-78: Interview with Harry Partch, conducted by Vivian Perlis, 1974: San Diego. This interview was conducted as part of the Yale School of Music Oral History Project, Vivian Perlis, Director. Tape duplicate provided by Yale Oral History Project in 1979. Further duplication is prohibited without permission of original source.
Item 79: Interview with Pauline Oliveros about Harry Partch, 1986: Interview conducted by Betty Freeman Beverly Hill, CA
Item 80: Interview with Marshall Glasier, 1979: Interviewed by Ben Johnston, New York, NY. Duplicate of item 50
Item 81: Reminiscences of Partch by Gordon Onslow-Ford and Betty Freeman, 1977: Duplicate of item 52

Folder 8: Duplicate Cassettes, Vol. 1

Item 1: Harry Partch: Lecture and demonstration delivered at Royce Hall, UCLA, 1966: Part of the 20th Century Music Series. A slightly abridged version of the lecture was printed in Source No. 1 (January 1967)
Item 2: Harry Partch: Lecture delivered at the University of Hawai, 1971: Part of the Festival of the Arts of This Century. Copy provided by University of Hawaii (courtesy of John Van der Slice)
Item 3: Partch: A monologue about dramatic ideas in music, ca. 1965: Tape from Peter Yates Collection (series 12), University of California at San Diego, Mandeville Library, Special Collections Dept. Tape made by Peter Yates, probably in Los Angeles in 1965-1966. Duplicate cassette made by permission of Special Collections Department, UCSD Library.
Item 4: Partch: "A Quarter-Sawcut Lecture on Intonation" / (Quarter-Sawcut Lecture continued), ca. 1967: A lecture presented on tape to Tanglewood ASUC conference summer of 1967 / Dreamer That Remains - copy of soundtrack for film by Stephen Pouliot and Betty Freeman
Item 5: Partch: "Oedipus the King", 1952: Duplicate from Mills College Library of original performance; of Partch's settings of "Oedipus" in the W. B. Yeats translation; Two cassettes; Dolby B; copy provided courtesy of Mills College, Oakland.
Item 6: Partch: "Oedipus the King", 1952: Duplicate from Mills College Library of original performance; of Partch's settings of "Oedipus" in the W. B. Yeats translation; Two cassettes; Dolby B; copy provided courtesy of Mills College, Oakland.
Item 7: "A Soul Tormented by Contemporary Music Looks for a Humanizing Alchemy.", 1957: 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)
Item 8: "A Soul Tormented by Contemporary Music Looks for a Humanizing Alchemy.", 1957: 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)
Item 9: "U.S. Highball", 1961: Ensemble conducted by Jack McKenzie; duplicate of tape in U. of I. Music Library (Special Collections/Tape MO 60260) (? dup from Gate 5 recording); Composer: Harry Partch
Item 10: Partch-Johnston "The Wooden Bird" (incidental music for play by Wilford Leach), undated: 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
Item 11: Partch: "Revelation in the Courthouse Park", 1961: Complete premiere performance, University of Illinois, ensemble conducted by John Garvey. two cassettes; duplicate from tape in University of Illinois Music Library (Special collections/ Tape MO 48981)
Item 12: Partch: "Revelation in the Courthouse Park", 1961: Complete premiere performance, University of Illinois, ensemble conducted by John Garvey. two cassettes; duplicate from tape in University of Illinois Music Library (Special collections/ Tape MO 48981)

Folder 9: Duplicate Cassettes, Vol. 2

Item 13: Lecture by Partch prior to live performance of "Plectra and Percussion Dances"/ Interview with Madeline Tourtelot and Harry Partch prior to screening of Tourtelot's film "Windsong" on WTTW-TV, 1953, 1958: International House, Berkeley, Copy from Marshall Collection, Tape 5 / Chicago, Copy from Marshall Collection, Tape 3
Item 14: Cassette of performances of Partch by American Festival of Microtonal Music, Johnny Reinhard, Director, ca. 1986: 1. "December 1942" - J.R. voice; Bradford Catler, fretless bass; 5/30/87;Â 2. "The Night of Sorrow" - J.R. intoned voice; Kenneth Edwards, viola; 6/2/86; 3. "Two Studies on Ancient Greek Scales" - Jon Catler, guitar "Just"; J.R. bassoon 6/2/86; 4. "In the Springtime on the Southside of the Yangzee Kiang" - J.R. voice; Kenneth Edwards, viola 6/2/86 - tape courtesy of Johnny Reinhard
Item 15: Marshall Tape 23/27/26/25, undated: Duplicates
Item 16: Marshall Tapes 28, 29, 30, 31, 32, 24, undated
Item 17: Marshall Tapes 33, 34, 35 and 36, undated
Item 18: Marshall Tapes 5 and 6, undated
Item 19: Marshall Tapes 7, 8, 9, 10, 12, undated
Item 20: Marshall Tapes 12, 17, 14, 16, undated
Item 21: Marshall Tapes 16 and 13, undated
Item 22: Harry Partch Archive Tape 5 & 6, 1945: Dups from glass base acetate recordings of Partch compositions made in Madison, Wisc.
Item 23: Interview between Peter Yates and Harry Partch, 1960: Probably made at Los Angeles, Sept. 1960.
Item 24: Interview between Studs Terkel and Harry Partch, 1962: Made in Chicago (as preview to Water! Water! production). Interview later broadcast on WFMT Radio, Chicago. Tape courtesy of WFMT Radio, Chicago.

Folder 10: Duplicate Cassettes, Vol. 3

Item 25: Oral comments by Betty Freeman, 1989: Regarding Partch chronology; taped in Champaign, Ill, with Thomas McGeary
Item 26: Partch performances by the American Festival of Microtonal Music Concerts, 1986-87: Tape courtesy of Johnny Reinhard. "The Night of Sorrow": "In the Springtime on the South Side of the Yangzee Kiang" (Nov. 2, 1986 at Saint Peter's Church in New York City) Johnny Reinhard, intoned voice, Kenneth Edwards, viola; "December 1942 - Come Away Death and the Heron" (May 30, 1987 at Merkin Concert Hall Concert Hall in New York City, World Premiere) Johnny Reinhard, intoned voice, Bradford Catler, fretless guitar; "Two Studies on Ancient Greek Scales arr. from HM and BM" (Nov. 2, 1986 at Saint Peter's Church in New York City) Jon Catler, Just Intonation fretted guitar, Johnny Reinhard, bassoon; "Yankee Doodle Fantasy" (May 30, 1987 at Merkin Concert Hall Concert Hall in New York City) Deborah Mirabai Rothrock, soprano, Joshua Pierce, DX7/E chip (Just Intonation keyboard), Andrew Bolotowsky, tin flute, Matthew Sullivan, oboe, Johnny Reinhard, flexotone and conductor
Item 27: Memorial meeting held at the home of Lou Harrison (1 of 2), 1974: Those present include Betty Freeman, Danlee Mitchell, Lou Harrison, and Jack Laron.
Item 28: Memorial meeting held at the home of Lou Harrison (2 of 2), 1974
Item 29: Pitch for the International Microtonalist, vol. 1, no. 3, Winter, 1988-99: Contains "December 1942": "Come Away Death", "The Heron", "The Rose", by Harry Partch. From the liner notes: "Come Away Death," is an adaption of the jester's song in Shakespeare's "Twelfth Night." The brief second and final movements appear related to music found in Partch's "Intrusions." Johnny Reinhard, intoned voice/Bradford Catler, fretless guitar.

Series 18: Performance Tapes

Box 33

Reel 1: "King Oedipus", 1952: Tape of performance at Mills College, Oakland. In the original version using the W. B. Yeats translation. Tape duplicated from copy loaned from Mills College Library. 11 inch reel, polyester tape, 7 1/2 ips
Reel 2: "King Oedipus", 1952: Tape of performance at Mills College, Oakland. In the original version using the W. B. Yeats translation. Tape duplicated from copy loaned from Mills College Library. 11 inch reel, polyester tape, 7 1/2 ips

Box 34

Reel 3: "King Oedipus", 1952: Tape of performance at Mills College, Oakland. In the original version using the W. B. Yeats translation. This tape has approximately the last two-thirds of the full recording. Tape duplicated from copy loaned from Mills College Library. 11 inch reel, polyester tape, 7 1/2 ips; Composers: Harry Partch
Reel 4: Unidentified excerpts, undated: Duplicate of a copy loaned by Mills College Library, Oakland. 11 inch reel, polyester tape, 7 1/2 ips
Reel 5: "Barstow", "Isobel", "Annah", "By the Rivers of Babylon", "Y.D. Fantasy", "Dark Brother", 1945: Dubs from glass base acetates of Harry Partch music, performed at Music Hall, University of Wisconsin, Madison. 7 inch reel, polyester tape, 7 1/2 ips; Composer: Harry Partch
Reel 6: "U.S. Highball", 1945: Dubs from glass base acetates of Harry Partch music, performed at Music Hall, University of Wisconsin, Madison. Tape duplicated from copy owned by Larry Gushee. 7 inch reel, polyester tape, 7 1/2 ips; Composer: Harry Partch
Reel 7: Lecture-demonstration given by Partch at Royce Hall, UCLA, 1966: Part of the 20th Century Music series presented by the UCLA Committee on Fine Arts Production. A portion of the lecture was printed in Source (Jan. 1967), p. 103. Tape provided by David Cloud, KUSC radio station, Los Angeles. 7 inch reel, polyester tape, speed unknown
Reel 8: A Quarter-Sawcut Section of Motivation and Intonation, 1967: Lecture presented in absentia to an American Society of University Composers seminar at Tanglewood, Mass. Duplicated from copy owned by John Chalmers (Chalmer's copy provided by Chris Forster). 7 inch reel, polyester tape, 7 1/2 ips
Reel 9: "And on the Seventh Day Petals Fell in Petaluma", 1967: Dub of master tape sent by Partch to Ben Johnston. (Original mailing label included); original tape gift of Ben Johnston. 7 inch reel, polyester tape, 7 1/2 ips; Composer: Harry Partch
Reel 10: Meeting between Ben Johnston, Garry Kvistad, and Harry Partch, 1974: At the Home of Harry Partch. Duplicate tape provided as gift of Garry Kvistad (Letter from Kvistad enclosed in tape box). 7 inch reel, polyester tape, 7 1/2 ips
Reel 11: Memorial meeting held at the home of Lou Harrison, 1974: People present include Betty Freeman, Danlee Mitchell, Lou Harrison, and Jack Larson. Tape Duplicate gift of Lou Harrison. 7 inch reel, polyester tape, 3 3/4 ips
Reel 12: Interview between Ben Johnston and Preston Tuttle about Harry Partch, 1979: 7 inch reel, polyester tape, speed unknown
Reel 13: Excerpts from "Revelation in the Courthouse Park" and a spoken introduction by Partch, 1962: Tape prepared for WNYC radio, sent January 1962; aired Feb. 16, 1962 (see correspondence in Barnard Hewitt Collection, folder 4); tape part of Barnard Hewitt Harry Partch Collection. Missing.
Reel 14: "The Wooden Bird" (1 of 2), 1950: Incidental music for play by Wilford Leach; improvised and recorded by Partch and Johnston at Gualala, Ca. Copy of original tape at Northwestern University Music Library, Ben Johnston Collection. 7 inch reel, polyester tape, 15 ips.; Composer: Harry Partch
Reel 15: "The Wooden Bird" (2 of 2), 1950: Incidental music for play by Wilford Leach; improvised and recorded by Partch and Johnston at Gualala, Ca. Copy of original tape at Northwestern University Music Library, Ben Johnston Collection. 7 inch reel, polyester tape, 15 ips.; Composer: Harry Partch
Reel 16: "And on the Seventh Day Petals Fell in Petaluma", 1989: Copy of tape prepared by Partch for Betty Freeman (includes Partch's inlaid list of movements); two-track stereo tape gift of Betty Freeman. Missing; Composer: Harry Partch
Reel 17: Partch lecture at the University of Hawaii, 1971: Part of the Festival of the Arts of This Century 1/4-track stereo tape gift of Betty Freeman. Missing
Reel 18: Unidentified tape: 11 inch reel, polyester tape, speed unknown
Reel 19: "Delusion" Master Tape for Film 1, undated: Act 1: Exordium, scenes 1,2, and 3. 11 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 20: "Delusion" Master Tape for Film 2, undated: Act 1, scenes 4,5,6, and Sanctus. 11 inch reel, acetate tape, 15 ips; Composer: Harry Partch
Reel 21: "Delusion" Master Tape for Film 3, undated: Act II, Scenes 1,2,3,4,5,6, and Coda. 11 inch reel, acetate tape, 15 ips; Composer: Harry Partch

Series 19: Microfilms, slide strips, video tapes and films

Box 34

Item 1: Bitter Music and End Littoral journals: Duplicate of Marshall Collection microfilm (Series 9, Subseries 1, Box 14, Item 1)
Item 2: "Sonata Dementia" and "Intrusions": Duplicate of Marshall Collection microfilm (Series 9, Subseries 1, Box 14, Item 2); Composer: Harry Partch
Item 3: "Li Po" Settings: Duplicate of Marshall Collection microfilm (Series 9, Subseries 1, Box 14, Items 3 and 4); Composer: Harry Partch
Item 4: Partch letters to Otto Luening, 1933-62: Microfilm of originals now at the New York Public Library (positive and negative copies). Further duplication is prohibited without permission of original source.
Item 5: Partch letters to Otto Luening, 1933-62: Microfilm of originals now at the New York Public Library (positive and negative copies). Further duplication is prohibited without permission of original source.
Item 6: Typescript of "Genesis of a Music": Original, unedited typescript for 1949 edition. Microfilm of original at the New York Public Library. Further duplication is prohibited without permission of original source.
Item 7: "Harry Partch and His Strange Musical Instruments.": Set of 2 slide strips from Educational Audio Video, Inc. (SE 70072B)
Item 8: "U.S. Highball", 1963: From the Madeline Tourtelot Collection, Beta I tape, approximately 25:00.; Composer: Harry Partch
Item 9: The Music of Harry Partch, 1968: VHS tape from KPBS-TV, San Diego State College. 29:37
Item 10: A-H, I-R: DAT duplicates of Cutler tapes (Series 2, Box 3)
Item 11: R: DAT duplicates of Cutler tapes (Series 2, Box 3)
Item 12: Reels 1, 2 and 3: DVD duplicates of Jean Cutler Partch films
Item 13: Reels 4 and 5: DVD duplicates of Jean Cutler Partch films
Item 14: Duets and Trios from "Petals", 1969: DVD duplicates of Jean Cutler Partch films. Rough A &V mating.
Item 15: HP Voice Tracks: Audio CD transfer from Jean Cutler 16mm audio magnetic tape.
Item 16: Audio CD 1: Transfer from 16 mm mag
Item 36: Audio CD 2: Transfer from 16 mm mag
Item 18: Video portion of reformatted Cutler film: VHS cassette
Item 19: Reels 1, 2 and 3: Betacam duplicates of 16mm reels
Item 20: Reels 4 and 5: Beta duplicates of 16mm reels

Box 35

Item 1: The Dreamer That Remains, undated: 16mm color prints

Series 20: Philip Blackburn Harry Partch Collection

Materials collected and created by Philip Blackburn in relation to his INNOVA and Enclosures products devoted to publishing materials about Partch, under the auspices of the American Composers Forum, Minneapolis.

Box 36

Folder 1: Brochures, pamphlets, newspaper cuttings, programs, magazines, journals, posters, and personal correspondence, 1957-99: Relating to Partch
Folder 2: Brochures, pamphlets, newspaper cuttings, programs, magazines, journals, posters, and personal correspondence, 1973-99: Relating to Partch

Box 39

Folder 1: "Looking for the 'Real American on an Alternative Road" Spoken Vernacular in Works of Harry Partch and Jack Kerouac", 2005: Masters thesis by Yang Shixian Tim, completed as part of the requirement for the Master of Arts degree from the Graduate Program in Comparative Literature, Department of English Language and Literature, Coochow University, Taipei, Taiwan.
Folder 4: Posters, undated: Publicity for The Harry Partch Legacy at the Walker Art Center in Minnesota, Poster for U.S. Highball at SDSU, and color photocopies of Partch's Tonality Diamond and tonal fraction system.
Item 1: Innova Disc A, undated: From Enclosures V.Â Digital audio tape, 44.1kHz sampling rate.
Item 2: Innova Disc B, undated: From Enclosures V. Digital audio tape, 44.1kHz sampling rate
Item 3: Innova Disc C, undated: Includes "The Bewitched" from Enclosures V. Digital audio tape, 44.1kHz sampling rate
Item 4: "Delusion of the Fury", undated: Master #1. Digital videocassette, 45 min.
Item 5: "Delusion of the Fury", undated: Master #2. Digital videocassette, 30 min.
Item 6: #1, undated: Digital videocassette, 9:09
Item 7: #2 Music Studio RED, undated: Digital videocassette, 18:00
Item 8: #3 "Windsong", undated: Digital videocassette, 17:46
Item 9: #4 "U.S. Highball", undated: Digital videocassette, 24:32
Item 10: #5 KPBS-TV, undated: Digital videocassette, 30:08
Item 11: Show #3 "U.S. Highball", 1997: Digital videocassette
Item 12: Music Studio, undated: Transfer of the 1996 version. Digital videocassette

Box 40

Item 1: The Music of Harry Partch, 1997: American Composers Forum (KPBS). Videocassette from 16mm film
Item 2: "Dreamer That Remains", undated: 3M Master, beta-cassette transfer, transferred for PB. 27 min.
Item 3: "U.S. Highball" and "Windsong", undated: 3M Master, beta-cassette transfers, transferred for PB.
Item 4: "Rotate the Body", undated: 3M Master, beta-cassette transfer, transferred for PB.
Item 5: Music by Harry Partch Reel IV, undated: Contents not verified; within box are notes giving other possible contents/subjects. 7 inch reel, polyester tape, 7 1/2 ips
Item 6: Music by Harry Partch Reel V, undated: Contents not verified; within box are notes giving other possible contents/subjects. 7 inch reel, polyester tape, 7 1/2 ips

Series 21: Kenneth Gaburo Harry Partch Collection

These materials had been in the possession of Philip Blackburn, as part of his INNOVA and Enclosures publication project. They were transferred to the archive in April 2008. For more information about the Kenneth Gaburo Papers in the University Archives see the finding aid.

Box 37

Folder 1: Lingua Press, 1978-89: Letters, contracts, prospectuses, list of documents, and other documents relating to the never-realized Lingua Press publication project of Partch materials.
Folder 2: Lingua Press, 1984: Letters, contracts, prospectuses, list of documents, and other documents relating to the never-realized Lingua Press publication project of Partch materials.
Folder 3: "The Bewitched", 1979-80: Printed and typescript material prepared by or collected by Gaburo relating to his productions.
Folder 4: "The Bewitched", 1979-80: Printed and typescript material prepared by or collected by Gaburo relating to his productions.

Box 39

Folder 2: "The Bewitched", ca. 1980: Tom McGeary note: Ozalid full score; used by director (Kenneth Gaburo) or stage director/choreographer for the San Diego State University 1979/1980 and/or 1980 Berlin production.

Series 22: Oversize Material

Box 41

Folder 1: Harry Partch Day Poster, undated: From a celebration at the Oakland Museum
Folder 2: Harry Partch, ca. 1930s: An enlarged photograph of Partch standing on top of a railcar during his hobo years.
Folder 3: Enlarged Instrument Photographs, 1945-75

Series 23: Madeline Tourtelot Harry Partch Collection

This collection consists of Madeline Tourtelot's own cassettes, tapes, and a book that had been given to Philip Blackburn in relation to his Enclosures publishing project. They were transferred to the Partch Archive in April 2008 as part of Blackburn's donation of his Enclosures material.

Box 35

Item 1: "Delusion of the Fury" Parts, A, B, C, 1995: Note by Danlee Mitchell: This is possibly the original mimed soundtrack to Cecil Spiller's recording of the UCLA live production. Madeline Tourtelot's soundtrack. h love / Harry / July 11, 1974. VHS cassette
Item 2: Genesis of a Music, 2nd edition, 1974: Copy inscribed: "To Madeline / with love / Harry / July 11, 1974"
Item 3: "Oedipus", ca. 1954: Gate 5 Records, issue no. 5. 12 inch LP; Composer: Harry Partch
Item 4: "U.S. Highball", 1956: Inscription has been mostly removed but appears to have read "To [Ted?] with kind regards / Harry". Gate 5 Records, issue no. 6. 10 inch LP.; Composer: Harry Partch
Item 5: "The Bewitched", 1956: Gate 5 Records. Two 12 inch LPs and enclosed program notes; Composer: Harry Partch
Item 6: Thirty Years of Lyrical and Dramatic Music (2 copies), ca. 1962: First copy is inscribed: "To Madeline with love- Harry (I hope / you like them) July 1, 1962". Second copy is inscribed: "To Ned with admiration in general / and for long-enduring patience during / the advent of these records - Harry / Aug. 22 '62". Gate 5 Records, issue A. 12 inch LP; Composer: Harry Partch
Item 7: "The Bewitched", 1956: Excerpted. Gate 5 Records, issue E. 12 inch LP; Composer: Harry Partch
Item 8: "Delusion of the Fury", ca. 1971: Copy inscribed: "For Madeline, happy memories, and love / always- Harry, October, 1971". Columbia Records. Two 12 inch LPs and booklet; Composer: Harry Partch
Item 9: "Plectra and Percussion Dances" (two copies), ca. 1957: First copy is inscribed: "Madeline - love - / high - December - 57,". Second copy is inscribed: "To Ted Tourtelot - to / provide a frivolous moment / of relief in the pursuit of / absolute knowledge / Harry Partch - Dec. 1957". Gate 5 Records, issue no. 4. 12 inch LP; Composer: Harry Partch

Series 24: Duplicate Tapes

Box 42

Reel 1: Tape M3.1/P37U5 v. 1, 1947-1958: 10" reel to reel/ 7-1/2 ips This reel is a duplicate of various tapes given to the U of I Music Library by Lauriston Marshall, Gualala, Calif. Each item is separated by white leader. Contents/Description of tape. 1. Marshall Tape # 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.
Reel 2: Tape M3.1/P37U5 v. 2, undated: 10" reel to reel / 7 1/2 ips This reel is a duplicate of various tapes given to the U. of I. Music Library by Lauriston Marshall, Gualala, Calif. Each item is separated by white leader. Contents/Description of tape. 1. Marshall Tape # 28 "Oedipus"; (excerpt) from mid-scene 5 to end. 2. Marshall Tape # 29 ditto 3. Marshall Tape # 30 ditto. 4. Marshall Tape # 31 ditto 5. Marshall Tape # 32 "U.S.Highball"; rehearsal session. 6. Marshall Tape # 33 "U.S.Highball"; rehearsal session. (beginning) --completed on reel no. 3
Reel 3: Tape M3.1/P37U5 v. 3, undated: 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").
Reel 4: 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. 581 Marshall Recording 9 Barstow. Early version (without marimba). This is a better-quality version than MO 52404. Steel core vinyl disc. Two sides 751 Marshall Recording All Audiodisc Recording Blanks: 10 a & b 3. "Isobel" from 2 Settings from Finnegan's Wake 4. "Annah the Allmaziful" from 2 Settings from Finnegan's Wake 5. "Y.D. Fantasy" (bad) [not taped] 850 6. "Y.D. Fantasy"
Reel 5: Tape M3.1/P37U5 v.5, undated: 10" reel to reel / 7 1/2 ips This reel contains duplicates of various 33 rpm recordings in the U of I Music Library. Each item is separated by white leader. Title/issue number of record 1. "The Bewitched - A Dance Satire" Gate 5 Records. Issue No. 3 2. "Thirty Years of Lyrical and Dramatic Music" Gate 5 Records. Issue A. (side one only)
Reel 6: Tape M3.1/P37U5 v.6, undated: 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)
Reel 7: Tape M3.1/P37U5 v. 7, undated: 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)
Reel 8: Tape M3.1/P37U5 v. 8, undated: 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

Box 43

Reel 9: Tape M3.1/P37U5 v. 9, undated: 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.
Reel 10: Tape M3.1/P37U5 v. 10, undated: 10" reel to reel / 7 1/2 ips This reel contains duplicates of various tapes in the Marshall Collection, Harry Partch Archive. Each item is separated by white leader. Marshall Tape # 38 ?fragments from recording session for Windsong. Marshall Tape # 39 "Discourse" and Intrusions (incomplete) Marshall Tape # 40 recording session takes for Windsong. Marshall Tape # 1 recording session takes for Windsong Marshall Tape # 2 ibid. Marshall Tape # 3 Interview with Madeline Tourtelot and Harry Partch about Windsong. Marshall Tape # 4 The Bewitched: Prologue (incomplete)
Reel 11: Tape M3.1/P37U5 v. 11, undated: 10" reel to reel / 7 1/2 ips This reel contains duplicates of various tapes in the Marshall Collection, Harry Partch Archive. Each item is separated by white leader. Marshall Tape # 5 Lecture by Harry Partch prior reels a & b to live performance of Plectra and Percussion Dances. Marshall Tape # 6 reel a Lecture and demonstrations by Harry Partch; includes excerpts from The Bewitched.
Reel 12: Tape M3.1/P37U5 v. 12, undated: 10" reel to reel / 7 1/2 ips This reel contains duplicates of various tapes in the Marshall Collection, Harry Partch Archive. Each item is separated by white leader. Marshall Tape # 6 Lecture and demonstrations by reel b Harry Partch; includes excerpts from Bewitched. Marshall Tape # 7 Recording session; Partch playing various instruments. Recording session for Intrusions. Marshall Tape # 8 some unidentified performances of Partch music. Marshall Tape # 9 l. Intro. by Partch prior to broadcast of Oedipus. 2. Intro. by Partch prior to broadcast of Plectra and Percussion Dances.
Reel 13: Tape M3.1/P37U5 v. 13, undated: 10" reel to reel / 7 1/2 ips This reel contains duplicates of various tapes in the Marshall Collection, Harry Partch Archive. Each item is separated by white leader. Marshall Tape # 10 Dark Brother Marshall Tape # 12 Sonata Dementia (not all instrument parts are present). Marshall Tape # 17 unidentified marimba music Marshall Tape # 14 recording session takes for Intrusions Marshall Tape # 15 recording session for Intrusions Marshall Tape # 16 reel a "Discourse" and Intrusions.
Reel 14: Tape M3.1/P37U5 v. 14, undated: 10" reel to reel / 7 1/2 ips This reel contains duplicates of tapes in the Marshall Collection, Harry Partch Archive. Each item is separated by white leader. Brief description Marshall Tape # 16 reel b "Discourse" and Intrusions Marshall Tape # 13 reels a, b, c, & d The Bewitched.
Reel 15: Tape M3.1/P37U5 v. 15, 1950: 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.