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 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

Oversize Portfolio Case 1

Item 1: Original drawings for Partch's Genesis of a Music, ca. 1949: Note: These diagrams, which appeared in the 1949 book, were located in 1991 at Gunnar Johansen's ranch.