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

Service Location	Boxes
SACAM, Band Building, 1103 S. 6th Street	Box 01
SACAM, Band Building, 1103 S. 6th Street	Box 02-03
SACAM, Band Building, 1103 S. 6th Street	Box 04-06
SACAM, Band Building, 1103 S. 6th Street	Box 06
SACAM, Band Building, 1103 S. 6th Street	Box 07
SACAM, Band Building, 1103 S. 6th Street	Box 08-10
SACAM, Band Building, 1103 S. 6th Street	Box 11
SACAM, Band Building, 1103 S. 6th Street	Box 12
SACAM, Band Building, 1103 S. 6th Street	Box 13
SACAM, Band Building, 1103 S. 6th Street	Box 14-15
SACAM, Band Building, 1103 S. 6th Street	Box 16-21
SACAM, Band Building, 1103 S. 6th Street	Box 22-32
SACAM, Band Building, 1103 S. 6th Street	Box 33-34
SACAM, Band Building, 1103 S. 6th Street	Box 35
SACAM, Band Building, 1103 S. 6th Street	Box 36
SACAM, Band Building, 1103 S. 6th Street	Box 37-38
SACAM, Band Building, 1103 S. 6th Street	Box 39
SACAM, Band Building, 1103 S. 6th Street	Box 40
SACAM, Band Building, 1103 S. 6th Street	Box 41
SACAM, Band Building, 1103 S. 6th Street	Box 42
SACAM, Band Building, 1103 S. 6th Street	Box 43
SACAM, Band Building, 1103 S. 6th Street	Item 1
SACAM, Band Building, 1103 S. 6th Street	Items 4-9
Archives Research Center, 1707 S. Orchard Street	Oversize Textile Box 1--2011.3503082.01
Archives Research Center, 1707 S. Orchard Street	Oversize Textile Box 1--2011.3503082.02

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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 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."