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 4: Betty Freeman Collection

Betty Freeman met Partch in Pasadena in 1964 and became one of his most important friends, patrons, and sponsors. She helped Partch locate studios, found the Harry Partch Foundation, arrange for the production of "Delusion of the Fury" at U.C.L.A., shared with Partch the purchase of his home in Encinitas, and produced the prize-winning documentary "The Dreamer that Remains". The bulk of the collection was donated in January 1979, with supplements in later years, especially 1999.

Box 3

(16mm film and 16 mm sound recording tape). The set comprises about 80 small finger rolls (small spools without cores or reels). Various degrees of description are written on the rolls or on the boxes. Transcribed are original titles on boxes with Betty Freeman's annotations.

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

Box 4

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

Box 5

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

Box 6

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

Box 7

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