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Decoding Harry Partch’s Aesthetic: Satire, Duality, and Water! Water!

Decoding Harry Partch’s Aesthetic: Satire, Duality, and Water! Water! ANDre W Gr ANADe Decoding Harry Partch’s Aesthetic: Satire, Duality, and Water! Water! In the spring of 1961, the Student Activities board of the Illini Student u nion was casting about for a new show. e ach year, the u nion spon- sored a student production of a musical, and while 1961’s show had been a success, they wanted the 1962 performance to turn heads. John Garvey, the group’s faculty advisor, had just finished conducting a suc- cessful u niversity of Illinois production of Harry Partch’s Revelation in the Courthouse Park. e ngaging Partch, perhaps best known for using just intonation to divide the octave into forty-three pitches and then build- ing instruments to play in that scale, certainly guaranteed that the show would turn heads. As r oger e bert (then a student at the u of I) noted in his review for the Daily Illini, “It was an evening with the offbeat mind of Harry Partch. Perhaps, after all, that is really explanation enough.” The show in question, Water! Water!, remains a curio in Partch’s out- put, comparable to b enjamin b ritten’s Paul Bunyan and Aaron Copland’s The Second Hurricane for its place in the composer http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Decoding Harry Partch’s Aesthetic: Satire, Duality, and Water! Water!

American Music , Volume 35 (2) – Aug 30, 2017

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

ANDre W Gr ANADe Decoding Harry Partch’s Aesthetic: Satire, Duality, and Water! Water! In the spring of 1961, the Student Activities board of the Illini Student u nion was casting about for a new show. e ach year, the u nion spon- sored a student production of a musical, and while 1961’s show had been a success, they wanted the 1962 performance to turn heads. John Garvey, the group’s faculty advisor, had just finished conducting a suc- cessful u niversity of Illinois production of Harry Partch’s Revelation in the Courthouse Park. e ngaging Partch, perhaps best known for using just intonation to divide the octave into forty-three pitches and then build- ing instruments to play in that scale, certainly guaranteed that the show would turn heads. As r oger e bert (then a student at the u of I) noted in his review for the Daily Illini, “It was an evening with the offbeat mind of Harry Partch. Perhaps, after all, that is really explanation enough.” The show in question, Water! Water!, remains a curio in Partch’s out- put, comparable to b enjamin b ritten’s Paul Bunyan and Aaron Copland’s The Second Hurricane for its place in the composer

Journal

American MusicUniversity of Illinois Press

Published: Aug 30, 2017

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