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I. Introduction (Part 1)
Harry Partch (b. Oakland, 1901– d. San Diego, 1974) [Photo by Madeline Tourtelot] Harry Partch is a critical figure in American 20th-century music for the influence of his musical ideas. His musical compositions, however, have never become part of the standard repertory, and are seldom closely studied. Although few serious academic surveys of American music would fail to mention Partch’s work, his compositions are rarely given the same analytical attention as his contemporaries. Even in his lifetime Partch’s ideas often overshadowed his music; in spite of the fact of his oft repeated statement that he, more than anything else, a composer. The primary reason for the reluctance to study his music is due to the fact that Partch composed for an orchestra of instruments that he designed and constructed himself. The need for new instruments was the direct result of his aesthetics, which required musical tones that do not otherwise exist in Western music. These new instruments, and “new” tones, in turn, demanded a new system with which to notate his compositions. Partch used a tablature system that was specific to each instrument. Tablature notation gives directions to a performer based on the instrument to be used. Therefore, in order to follow his scores, one must be familiar with each unique instrument. All these factors have created a set of encumbrances that make Partch’s music inaccessible to most music students. contd ..>>
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