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Harry Partch: Hobo Composer by S. Andrew Granade (review)

Harry Partch: Hobo Composer by S. Andrew Granade (review) Book Reviews Harry Partch: Hobo Composer. By S. Andrew Granade. Eastman Studies in Music. Rochester: University of Rochester Press, 2014. ISBN-13: 978-1-58046-495-6. Cloth. Pp. xiii, 351. $29.95. Harry Partch's public image has always included the "hobo composer" label, but little attention has been paid to fully examining Partch's relationship to the figure and reality of the hobo. Scholarly examinations of Partch routinely accepted the appellation until the 1990s, when major Partch scholars--particularly Thomas McGeary and Bob Gilmore--pushed back against what they regarded as a misleading view of the composer.1 Since then, music scholars have largely focused on Partch's microtonal theories and idiosyncratic musical philosophy. In the current century, however, scholarship has emerged that seeks to more closely examine the "hobo composer" label and its significance. Andrew Granade's book is the most substantial example of this trend so far.2 In Harry Partch: Hobo Composer, Granade presents a meticulously researched account of Partch's experiences with transient peoples in his youth and his changing relationship to the hobo image, as well as insightful analyses of Partch's hobo-centric compositions. Along the way Granade examines the shifting early twentieth-century governmental and popular culture reactions to transient subcultures, elucidates Partch's tuning theory, and establishes http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Harry Partch: Hobo Composer by S. Andrew Granade (review)

American Music , Volume 33 (3) – Jan 14, 2015

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Publisher
University of Illinois Press
Copyright
Copyright © University of Illinois Press
ISSN
1945-2349
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Abstract

Book Reviews Harry Partch: Hobo Composer. By S. Andrew Granade. Eastman Studies in Music. Rochester: University of Rochester Press, 2014. ISBN-13: 978-1-58046-495-6. Cloth. Pp. xiii, 351. $29.95. Harry Partch's public image has always included the "hobo composer" label, but little attention has been paid to fully examining Partch's relationship to the figure and reality of the hobo. Scholarly examinations of Partch routinely accepted the appellation until the 1990s, when major Partch scholars--particularly Thomas McGeary and Bob Gilmore--pushed back against what they regarded as a misleading view of the composer.1 Since then, music scholars have largely focused on Partch's microtonal theories and idiosyncratic musical philosophy. In the current century, however, scholarship has emerged that seeks to more closely examine the "hobo composer" label and its significance. Andrew Granade's book is the most substantial example of this trend so far.2 In Harry Partch: Hobo Composer, Granade presents a meticulously researched account of Partch's experiences with transient peoples in his youth and his changing relationship to the hobo image, as well as insightful analyses of Partch's hobo-centric compositions. Along the way Granade examines the shifting early twentieth-century governmental and popular culture reactions to transient subcultures, elucidates Partch's tuning theory, and establishes

Journal

American MusicUniversity of Illinois Press

Published: Jan 14, 2015

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