Finding Aid for Music and Performing Arts Library Harry Partch Collection, 1914-2016 | 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
Archives Research Center, 1707 S. Orchard 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
Archives Research Center, 1707 S. Orchard Street	Box 13-15
SACAM, Band Building, 1103 S. 6th Street	Box 16-21
SACAM, Band Building, 1103 S. 6th Street	Box 22-32
Archives Research Center, 1707 S. Orchard Street	Box 33
Archives Research Center, 1707 S. Orchard Street	Box 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	Box 50
SACAM, Band Building, 1103 S. 6th Street	Box 51
SACAM, Band Building, 1103 S. 6th Street	Boxes 44-49
SACAM, Band Building, 1103 S. 6th Street	Oversize Portfolio Case 1
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, 1914-2016

ID: 35/3/82

Primary Creator: Partch, Harry (1901-1974)

Other Creators: Blackburn, Philip (1962-), Cutler, Jean (1927-2010), Daniel, Oliver (1911-1990), Freeman, Betty (1921-2009), Gaburo, Kenneth (1926-1993), Hewitt, Barnard (1906-1987), Johnston, Ben (1926-2019), Kostka, Robert (1928-2005), Ludlow, Lynn (1933-2025), Marshall, Lauriston C. (1902-1980), Mitchell, Danlee (1936-2024), Pouliot, Stephen L. (1945-), Tourtelot, Madeline (1915-2002), Yates, Peter (1909-1976)

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 Kostka 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: Composers, Compositions-Music, Films, Gaburo, Kenneth (1926-1993), Garvey, John (1921-2006), Graphic Notation--Music, Guggenheim Foundation, Instrumental music, Johnston, Ben (1926-2019), Luening, Otto (1900-1996), Music-Theory, Musical Instrument Makers, Musical Instrument Makers - United States, Music theater, Partch, Harry, Theatrical Productions, Thomson, Virgil (1896-1989), Tourtelot, Madeline (1915-2002)

Formats/Genres: Correspondence, Experimental Music, Financial Records, Librettos, Motion Pictures/Videotapes, Newspaper Clippings, Photographs, Scrapbooks, Sheet music, Sound Recordings

Languages: English

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 composer and instrument builder Harry Partch from the vantage point of collaborators that were associated with him. Included among these collaborators are Jean Cutler, Betty Freeman, Robert Kostka, Bernard Hewitt, Lauriston Marshall, Danlee Mitchell, Stephen Pouliot, and Peter Yates. Of note are original music manuscripts, films, and photographs as well as audio recorded interviews, documenting the life of Harry Partch.

Biographical Note

Harry Partch (1901-1974) was an American composer, theorist, instrument designer, and performer. Born in Oakland, California, he was the son of Virgil Franklin Partch and Jennie Partch. The youngest of three siblings, his older brother Paul and older sister Irene had been born in China, while his parents were serving as Presbyterian missionaries. After his mother contracted tuberculosis, the family moved to Benson, Arizona. Partch grew up learning Chinese lullabies from his mother. His sister played violin and and cello and his brother played mandolin. Partch's own musical training began on piano, which he performed well enough on to accompany silent films while the family was living in Albuquerque, New Mexico. After the Yaqui Nation was forcibily relocated near Benson, Partch encountered their musical traditions as well. After Partch's father died in 1918, Partch moved to Southern California, briefly studying piano at the University of Southern California. After his mother's death in 1920, he spent the next thirteen years working as a proofreader, piano teacher, and violist.

In 1923, Partch discovered Herman von Helmholtz's On the Sensation of Tone. From this and from his study of both Chinese and Native American music systems, he developed a 29-tone scale. This scale first appears in his "Exposition of Monophony" (1928). Partch would continue to develop this microtonal scale system, eventually settling on a 43-pitch system, composing pieces to showcase it, and building instruments upon which it could be played.

Throughout the early part of the 1930s, Partch travelled between California and the East Coast, riding the rails, living as a hobo, and picking up odd jobs to make money. During one of these short term jobs, Partch was hired by the Southwest Museum in Los Angeles (now the Southwest Museum of Pasadena) to transcribe Native American melodies recorded by the folklorists Eleanor Hague and Charles Fletcher Lummis. Around the same time, Partch made his first adapted viola to accomodate for his developing microtonal system. By 1933, he begun to develop several other instruments. In 1934, he earned a Carnegie Grant to study music in England, where he began working with Kathleen Schlesinger, who had reconsted an ancient Greek Kithara. After returning to the US in 1935, he returned to life as a hobo, writing a musical diary called Bitter Music, which was later published in 1940.

In 1941, Partch found himself in Chicago, where he began developing speech music, based on heightened speech used in ancient Greek dramas. During this time, he also constructed his first Kithara, Harmonic Canon, and Chromelodeon. Shortly thereafter, Partch began setting his experience of living as a hobo to music, composing works like Barstow, The Letter, and US Highball. During this period he received two Guggenheim grants and received support from composers like Otto Luening. From 1944 to 1947, he was briefly employed at the University of Wisconsin, Madison.

In 1947, Partch finally completed his book A Genesis of Music, which outlined his rationale for adopting a 43-pitch system. By the early 1950s, he had begun to gain some notariety, establishing the Gate 5 Ensemble, a group that specialized in performing his music instruments, and record label. During this period, Partch completed his first major stage play King Oedipus (1952) and had it performed at Mills College in Oakland, CA. He had also begun a musical partnership with fellow composer Ben Johnston, who advocated for Partch to receive a visiting artist position at the University of Illinois in 1956.

While at Illinois, Partch premiered his large stage work, The Bewitched (1957), as part of the Festival of Contemporary Arts. He would premiere two additional music theater works at the University of Illinois, Revelation in the Courthouse Park (1960) and Water! Water! (1961). In 1958, he began collaborating with filmmaker Madeline Tourtelot, producing films for Windsong (1958), Harry Partch Music Studio (1960), US High Ball (1968), Rotate the Body in All Its Planes (1961), The Renascent (1963), and Delusion of the Fury (1969). Also in Urbana, Partch met Danlee Mitchell, a percussionist and student at the University who later became Partch's principal percussionist, assistant, amanuesis, and eventually the executor of Partch's Estate.

After failing to secure a permanent faculty position at the University of Illinois, Partch returned to California in 1962, where he completed his final projects, a stage drama based on a Japanese Noh play called The Delusion of the Fury (1966) and music for the Stephen Pouliout Film The Dreamer that Remains (1972). Partch died in San Diego, California in 1974.

Subject/Index Terms

Composers
Compositions-Music
Films
Gaburo, Kenneth (1926-1993)
Garvey, John (1921-2006)
Graphic Notation--Music
Guggenheim Foundation
Instrumental music
Johnston, Ben (1926-2019)
Luening, Otto (1900-1996)
Music-Theory
Musical Instrument Makers
Musical Instrument Makers - United States
Music theater
Partch, Harry
Theatrical Productions
Thomson, Virgil (1896-1989)
Tourtelot, Madeline (1915-2002)

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. Collected letters from Harry Partch, photographs, tape recordings, and masters thesis documentation donated by Stephen Pouliot September 24, 2025.

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.

Related Materials:

Harry Partch Estate Archive 12/5/45.

Box and Folder Listing

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." Materials received from Pouliot in 2025 arranged chronologically.

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

Box 50

Folder 1: Lou Harrison Correspondence and Partch Sketches for UCLA Concert, 1966-1973: Contains letters from Harrison to Pouliot and hand drawn posters for UCLA performance of two Partch Concerts at UCLA (1966)
Folder 2: Masters Thesis Documentation, 1969-1973: Contains budget proposal for USC thesis project, outline for the Dreamer that Remains, photocopy of degree from 1973.
Folder 3: Thesis Proposal, 1972: Contains Film Treatment Thesis Proposal for Harry Partch: A Study of Loving.
Folder 4: Drafts of Film Treatment - The Dreamer That Remains, 1972: Includes several drafts of the film treatment of Harry Partch The Dreamer that Remains: A Study of Loving as well as correspondence and annotated edits.
Folder 5: Filming Schedule - The Dreamer that Remains, 1972
Folder 6: Partch Quotes to be Restated on Film, 1972
Folder 7: Iverness, California Trip with Partch - Notes and Photographs, 1972
Folder 8: Production Photos from The Dreamer that Remains, 1972
Folder 9: Instrument Photos, Candids, and Production Photos, ca. 1972: Originally included in a scrapbook of photos. Original order of the photographs has been maintained. Includes some contact sheets of music instruments, scrapbook page with glued photos, and mounted photo of music instruments. Envelope of Negatives removed from internal sleeve of scrapbook, see folder 10.
Folder 10: Negatives, ca. 1972: Originally included a scrapbook of photographs, found in orginal photo developer envelope. See also Folder 9.
Folder 11: Gate 5 Photographs, Candids, and Cartoon, ca. 1972-1990: Includes photographs of the members of the Gate 5 Ensemble as well as a cartoon of the ensemble that appeared in the New Yorker Magazine in the 1990s.
Folder 12: Betty Freeman Correspondence and Celebration of Life, ca. 1972-2009
Folder 13: Guest List for Village Vanguard Film Showing, 1973
Folder 14: Showings and Awards for the Dreamer that Remains, 1973-1974
Folder 15: Microfest 2001 Partch Celebration, 1973-2005: Includes correspondence, news clippings from initial film release, and Danlee Mitchell article on Corporeality (2005) .
Folder 16: Partch Memorial Film Showing at the San Francisco Museum of Art - Guest List, 1974: Guest list includes Lou Harrison, Betty Freeman, and Stephen Pouliot.
Folder 17: Tantalus Program for Pemiere Screening of the Dreamer that Remains, 1974
Folder 18: American Cinematographer - Articles on the Dreamer that Remains, 1974: Includes January, vol. 55 no. 1 and March, vol. 55 no. 3.
Folder 19: Westways - Article on the Dreamer that Remains, 1974: Includes January, vol. 66 no. 1
Folder 20: Stephen Pouliot "The Dreamer that Remains" - article in Gambit, 1975: January 1975, vol. 12 no. 1.
Folder 21: Reviews of the Dreamer that Remains, 1977
Folder 22: Bob Gilmore Correspondence, 1990-2006
Folder 23: Philip Blackburn and Innova Recordings Correspondence, 1995-2013
Folder 24: Film Restoration Project Correspondence and DVD Liner Notes, 1999-2004
Folder 25: USC Moving Image Archives - Correspondence, 1999-2008
Folder 26: Red Cat Events and Concerts, 2000-2010
Folder 27: Tom McGeary Correspondence, 2000-2001
Folder 28: Montclair State University - Correspondence about Partch Instruments, 2001-2014
Folder 29: University of Illinois - Correspondence, 2001-2016
Folder 30: Gord Chime Appraisal and Donation, 2003-2004
Folder 31: Jon Roy Correspondence, 2006
Folder 32: Jacob Johnson Correspondence, 2014
Item 1: The Dreamer that Remains, 2001: VHS Tape. 16mm Transfer by Film Technology Company, Inc. PO #5470. Run Time: 27:50. Copy 1 of 2.
Item 2: The Dreamer that Remains, 2001: VHS Tape. 16mm Transfer by Film Technology Company, Inc. PO #5470. Run Time: 27:50. Copy 2 of 2.
Item 3: Wayne Finkerman Interview at Western, ca. 2016: VHS Tape.
Item 4: The Dreamer that Remains, undated: VHS Tape. Produced by New Dimension Media, Inc. Jacksonville, Illinois. Runtime 27 minutes.
Item 5: Musical Outsiders: An American Legacy, Harry Partch, Lou Harrison, and Terry Riley, 1995: VHS Tape. Michael Blackwood Productions, Inc. Runtime 58 minutes. Note on box reads: "Blackwood uses my Partch Photographs, Partch Film, and 2 seconds of me talking."
Item 6: The Dreamer that Remains, 1988: Beta Tape. 3/4 NTSC Dub by Bob Banner Associates. Runtime 27:57. Case includes handwritten production note.
Item 7: The Dreamer that Remains, 2001: Beta Tape. 16mm transfer by Film Company, Inc. PO #5470. Runtime 27:45. Copy 1 of 2.
Item 8: The Dreamer that Remains, 2001: Beta Tape. 16mm transfer by Film Company, Inc. PO #5470. Runtime 27:45. Copy 2 of 2.

Box 51

Folder 1: Delusion of the Fury LP Liner Notes, 1971
Item 1: Letters from Harry Partch, Scrapbook Vol. 1, 1971-1972: Two bound volumes of letters from Harry Partch to Stephen Pouliot, written predominantly during the filming of The Dreamer that Remains until Partch's death in 1974. Letters are personal in nature, mostly discussing Partch's relationship with Pouliot occasionally discussing work on the film. Also discusses Partch's creation of the Gourd Chime "The Garden of Eden," which was designed as a birthday present for Pouliot. Note: On many letters, Partch has taped flowers or dried plants to the partchment, handle with care.
Item 2: Letters from Harry Partch, Scrapbook Vol. 2, 1972-1974: Two bound volumes of letters from Harry Partch to Stephen Pouliot, written predominantly during the filming of The Dreamer that Remains until Partch's death in 1974. Letters are personal in nature, mostly discussing Partch's relationship with Pouliot occasionally discussing work on the film. Also discusses Partch's creation of the Gourd Chime "The Garden of Eden," which was designed as a birthday present for Pouliot. Note: On many letters, Partch has taped flowers or dried plants to the partchment, handle with care.

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