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 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