
Harry Partch was an American composer and inventor known for his unique musical instruments.
Partch was a pioneering music theorist who created instruments specifically for his microtonal compositions.
He was one of the first 20th-century composers to work systematically with microtonal scales, alongside Lou Harrison.
Biography
Early Life
Harry Partch was born on June 24, 1901, in Oakland, California, to missionary parents Virgil Franklin Partch and Jennie Childers. His early years were spent in Arizona, where he was exposed to a variety of musical influences, including the songs of the native Yaqui people and his mother's Mandarin Chinese lullabies. Encouraged by his mother, he learned multiple instruments, including the mandolin, violin, and piano, and began composing music at the young age of 14. After graduating high school in 1919, Partch moved to Los Angeles, where he faced personal tragedies, including the loss of both parents.
Career Development
Partch's career as a composer and music theorist flourished as he became known for his innovative approach to music. He was one of the first 20th-century composers to systematically explore microtonal scales, creating unique instruments to perform his compositions. His seminal work, "Genesis of a Music," published in 1947, outlined his theories on music and tuning. Throughout his career, he released several notable albums, including "U.S. Highball" and "The Music of Harry Partch," showcasing his avant-garde style and contributions to outsider music. Partch's work was recognized with a Guggenheim Fellowship, further solidifying his legacy in the music world.
Legacy
Harry Partch's influence continues to resonate in contemporary music. He appointed Danlee Mitchell as his heir, ensuring the continuation of his musical legacy through the Harry Partch Foundation. His instruments and compositions are preserved and performed by groups like Newband, and his estate archive is housed at the Sousa Archives and Center for American Music. Partch's unique notation system, while challenging for traditional musicians, remains a testament to his innovative spirit, inspiring artists like Paul Simon and musicians across various genres.
Collected from open sources (4) · facts link to sources · AI-processed
Discography
Harry Partch: The Bewitched / Taylor Brook: Block2022
Tracklist not collected yet.
Sonata Dementia2019
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Masterworks of the 20th Century2015
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Plectra and Percussion Dances2014
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Bitter Music2011
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U.S. Highball2003
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The Wayward2002
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Enclosure 51998
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The Bewitched (Members of the University of Illinois Musical Ensemble feat. conductor: John Garvey)1997
Tracklist not collected yet.
The Harry Partch Collection, Volume 21997
Tracklist not collected yet.
The Harry Partch Collection, Volume 11997
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The Harry Partch Collection, Volume 31997
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17 Lyrics of Li Po1995
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Enclosure Two1995
Tracklist not collected yet.
Just West Coast1993
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Microtonal Works by Partch, Cage, Labarbara, Drummond1990
Tracklist not collected yet.
Revelation in the Courthouse Park1989
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The Music of John Cage and Harry Partch1978
Tracklist not collected yet.
Delusion of the Fury: A Ritual of Dream and Delusion1971
Tracklist not collected yet.
The World of Harry Partch1969
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And on the Seventh Day Petals Fell in Petaluma1966
Tracklist not collected yet.
Plectra and Percussion Dances1953
Tracklist not collected yet.
U.S. Highball1946
Tracklist not collected yet.
The Harry Partch Collection, Volume 4: The Bewitched1997
Tracklist not collected yet.
The Music of Harry Partch1989
Tracklist not collected yet.
Gallery
Label
- Record label
- Columbia Records
Achievements
- Award
- Guggenheim Fellowship
Similar artists
Archive
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Identifiers & aliases
American composer, music theorist, creator of musical instruments
Harry Partch was an American composer, music theorist, and creator of unique musical instruments. He composed using scales of unequal intervals in just intonation, and was one of the first 20th-century composers in the West to work systematically with microtonal scales, alongside Lou Harrison. He built his own instruments in these tunings on which to play his compositions, and described the method behind his theory and practice in his book Genesis of a Music (1947).
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Opinions of fans — not verified facts.
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