A common misconception regarding systems of just intonation is that they preclude the possibility of tonal modulation. Harry Partch, in his lectures and book Genesis of a Music, argued against this fallacy. The investigation of Partch's music presented here begins with an overview of Partch's theory of just intonation (Monophony) and uses these principles to examine the techniques that Partch developed for tonal modulation within the context of his music. Selected excerpts from several of Partch's compositions ( Eleven Intrusions and Ring Around the Moon ) will be analyzed and performed for this purpose. From the analyses it will be demonstrated that Partch's Monophony in fact provides a vast field of resources for tonal modulation and other musical structures erroneously believed to be exclusively the domain of equal temperament.
Partch's principle of Corporeality underwent continuous evolution during his lifetime as his performance medium expanded. One of the areas not commonly associated with Corporeality, but yet of vital importance to it, is Partch's approach to musical gesture. This investigation will begin by looking into how Partch's ideal of Corporeality was realized during his lifetime and in posthumous performances of his work. The discussion will then examine the "attitudinal techniques" that Partch required of his performers, and most importantly his use of idiomatic musical gestures based on instrument physiognomies. Excerpts from Partch's Castor and Pollux will be performed on replica instruments for a demonstration of the techniques under discussion.*
*This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.
