Tag Archives: Harry Partch

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Worlds Enough & Times:
The Unintentionally Weird Fiction of Fred Hoyle

4,547 words

October1stFred Hoyle (Sir Fred Hoyle, FRS)
October the First Is Too Late
London: Heineman, 1966; New York: Harper & Row, 1966
New York: Fawcett Publications, Inc., 1968 (paperback)
Richmond,Va.: Valancourt Books, 2015 (with an Introduction by John Howard)

Penny: So, how you been?

Sheldon Cooper: Well, my existence is a continuum, so I’ve been what I am at each point in the implied time period.  Read more …

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Our Wagner, Only Better:
Harry Partch, Wild Boy of American Music, Part 3

4,566 words

harrypartch[1]Part 3 of 3

Lacking the notion of radical traditionalism, Partch’s audiences tended to misunderstand him, by assimilating him to either of two reassuringly familiar roles: as either an “Orientalist” or some kind of “avant-garde” radical.

These were two things that infuriated Partch as failures to understand what he was doing. The first, beloved of lazy though positive reviewers and polite guests, was to say something like “It’s very Oriental, isn’t it?”[1] In a very superficial sense, it is—it seems mostly gongs and mallets, with nary a string instrument to be found— Read more …

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Our Wagner, Only Better:
Harry Partch, Wild Boy of American Music, Part 2

Harry Partch, June 24, 1901–September 3, 1974

Harry Partch, June 24, 1901–September 3, 1974

4,834 words

Part 2 of 3

Rejecting the equal temperament and concert traditions that have dominated western music, Harry Partch adopted the pure intervals of just intonation and devised a 43-tone-to-the-octave scale, Read more …

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Our Wagner, Only Better:
Harry Partch, Wild Boy of American Music, Part 1

5,476 words

Harry Partch, June 24, 1901–September 3, 1974

Harry Partch, June 24, 1901–September 3, 1974

Part 1 of 3

“In a healthy culture differing musical philosophies would be coexistent, not mutually exclusive; and they would build from Archean granite, and not, as our one musical system of today builds, from the frame of an inherited keyboard, and from the inherited forms and instruments of Europe’s 18th century. And yet anyone who even toys with the idea of looking beyond these legacies for materials and insight is generally considered foolhardy if not actually a publicity-seeking mountebank.” – Harry Partch, Genesis of a Music  Read more …

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