Books

Brotbeck, Roman (2015): “Avantgardist wider Willen. Zum Komponisten und Instrumentenbauer Harry Partch (1901–1974)”, in: Programmbuch Festival Klangspuren, Schwaz 2015, pp. 13-15.

Brotbeck, Roman (2013a): “When things are hoping. Gedanken zur europäischen Erstaufführung von ‚Delusion of the Fury’ von Harry Partch und zum Nachbau seiner Instrumente”, in: Dissonance 124 (September 2013), pp. 18-27.

Brotbeck, Roman (2013b): “Contre le tempérament égal: de Julián Carrillo à Harry Partch”, in: Théories de la composition musicale au XXe siècle, direction scientifique Nicolas Donin et Laurent Feneyrou, Volume 1, Lyon: Symétrie, pp. 269-280.

Brotbeck, Roman (2004): Die historischen Selbstkonstruktionen von Julián Carrillo, Harry Partch und Ivan Wyschnegradsky”, in: Musik und Verstehen, hrsg. v. Christoph v. Blumröder, Laaber: Laaber (Spektrum der Musik Bd. 8), pp. 176-184.

Brotbeck, Roman (1994): “Harry Partch. A Humanizing Alchemist”, in: Dissonanz, Nr. 39 (Februar 1994), pp. 12-20.

Drummond, Dean (1994): “On Newband and the Partch Instruments 1/1”, in: The Journal of the Just Intonation Network 8/4 (November 1994), pp. 14-19.

Dunn, David (2000): Harry Partch. An Anthology of Critical Perspectives, Amsterdam: Harwood Academic Publication.

Ekman, Petter Karl Magnus (2011): The Intonation Systems of Harry Partch, BA Thesis, Iceland Academy of the Arts, Music Department, Iceland. http://skemman.is/stream/get/1946/8545/22578/1/Lokaritgerd.pdf

Fritsch, Johannes (1978): “Die Tonalität des Harry Partch”, in: Avantgarde-Jazz- Pop/Tendenzen zwischen Tonalität und Atonalität, hrsg. Reinhold Brinkmann, Mainz: Schott, pp. 107-122.

Garland, Peter  (1997): Six American Composers:  Partch, Cage,  Harrison,  Nancarrow, Tenney, Bowles, Berlin: Merve.

Garland, Peter (1982): Americas: Essays on American Music and Culture, 1973-80, Santa Fe: Soundings Press.

Georgiades, Thrasybulos (1958): “Musik und Rhythmus bei den Griechen. Zum Ursprung der abendländischen Musik”, in: Rowohlts Deutsche Enzyklopädie 61, Hamburg: Rowohlts, pp. 93-98.

Gilmore, Bob (2015): “Wahrhaft Radikale Musik”, in: MusikTexte. Zeitschrift für neue Musik, 144, pp. 57-65.

Gilmore, Bob (2003): “The Climate Since Harry Partch”, in: Contemporary Music Review, 22/1-2, pp. 15-33.

Gilmore, Bob (1998): Harry Partch, A Biography, New Haven: Yale University Press.

Gilmore, Bob (1995): “Changing the Metaphor. Ratio Models of Musical Pitch in the Work of Harry Partch, Ben Johnston and James Tenney”, in: Perspectives of New Music, vol. 33/1-2, pp. 458-503.

Gilmore, Bob (1992): “On Harry Partch’s Seventeen Lyrics by Li-Po”, in: Perspectives of New Music, 30/2, pp. 22-58.

Granade, Samuel Andrew (2014): Harry Partch: hobo composer, Rochester NY: University of Rochester Press.

Granade, S. Andrew (2010): “Rekindling Ancient Values: The Influence of Chinese Music and Aesthetics on Harry Partch”in:  Journal oft the Society for American Music, 4/1 (February 2010), pp. 1-32.

Hackbarth, Glenn (1979): An Analysis of Harry Partch’s Daphne of the Dunes, DMA thesis, University of Illinois.

Harlan, Brian Timothy (2007): One voice: a reconciliation of Harry Partch’s disparate theories, Diss. University of Southern California Los Angeles.

Hatherley, Stephen Georgeson (1892): A treatise on Byzantine music. London: W. Reeves.

Helmholtz, Hermann von (1885), On the Sensations of Tone as a Physiological Basis fort he Theory of Music. Translated by Alexander j. Ellis London: Longmans, Green.

Helmholtz, Hermann von (1913) [1863]: Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik. Sechste Ausgabe, Braunschweig: Friedr, Vieweg & Sohn.

Johnson, Charles William Leverett (1896): Musical pitch and the measurement of intervals among the ancient Greeks. Baltimore: J. Murphy.

Johnston, Ben (1975): “The Corporealism of Harry Partch”in: Perspectives of New Music, 13/2 (Spring-Summer 1975), pp.85-97.

Johnston, Ben (1983-84): “Beyond Harry Partch” in: Perspective of New Music 22/ 1-2 (Autumn-Summer 1983-84), pp. 223-32.

Kakinuma, Toshie (1989): The musical instruments of Harry Partch as an apparatus of production in musical theatre, Ph.D. University of California, San Diego.

Kassel, Richard M. (2000): “Barstow as History. An Introduction to the Sound World of Harry Partch“, in: Harry Partch, Barstow. Eight Hitchhiker Inscriptions form a Highway Railing at Barstow, California [1968 Version], (Ed.) Richard M. Kassel (Music of the United States of America, 9), Madison: A-R Editions, pp. xiii-Ixxix.

Kassel, Richard M. (1996): The Evolution of Harry Partch’s Monophony, Ph.D. diss., City University of New York.

McGeary, Thomas (1991): The Music of Harry Partch. A Descriptiv Catalog, New York: Institute for Studies in American Music, Conservatory of Music, Brooklin College of the City University of New York.

Partch, Harry (2000): Bitter Music, Collected Journals, Essays, Introductions and Librettos, (Ed.) Thomas McGeary, Illinois: University of Illinois Press.

Partch, Harry (1974): Genesis of a Music, Second Edition, Enlarged, New York: Da Capo Press.

Partch, Harry (1949): Genesis of a music. Monophony. The relation of its music to history, Madison: University of Wisconsin Press.

Partch, Harry (1933): Exposition of Monophony, unpublished Typo script.

Safari, Sarvenaz/Stahnke, Manfred (2014): 1001 Mikrotöne/ 1001 Microtones, Hamburg: Von Bockel.

Savage, David Allen (1994): Voice & Soul: Intrinsic Descriptions of Harry Partch’s Keyboard and String Instruments, University of California.

Schlesinger, Kathleen (1944): “The Harmonia: Creator of the Model System of Ancient Greek Music, in:  Music Review, 5, pp. 7-94.

Schlesinger, Kathleen (1939): The Greek aulos; a study of its mechanism and of its relation to the modal system of ancient Greek music, followed by a survey of the Greek harmoniai in survival or rebirth in folk-music. London: Methuen & Co.

Schlesinger, Kathleen (1933) [1900]: “Further notes on Aristoxenus and musical intervals”, in: Classical Quarterly, pp. 88-96.

Schlesinger, Kathleen, and Henry George Farmer (1925): Is European Musical Theory Indebted to the Arabs?, London: Harold Reeves.

Schneider, John. (2015) : The Contemporary Guitar. Revised & Enlarged Edition, USA : Rowman & Littlefield.

Spengler, Oswald (1973) [1918]: Der Untergang Des Abendlandes, München: Beck.

Stahnke, Manfred  (2005): Mikrotöne und mehr: Auf György Ligetis Hamburger Pfaden, Hamburg: Von Bockel.

Schweidler, Walter (1987): Die Überwindung der Metaphysik, zu einem Ende der neuzeitlichen Philosophie, Stuttgart: Klett-Cotta.

Vogel, Martin  (1963): Die  Enharmonik  der  Griechen,  Düsseldorf: Verlag  der  Gesellschaft  zur Forderung der systematischen Musikwissenschaft.

Vogel, Martin (1954): Die Zahl Sieben in der spekulativen Musiktheorie, Diss. Phil., Bonn.

Walter, Johannes Caspar /Pätzold, Cordula (2014): Mikrotonalität – Praxis und Utopie, Herausgegeben im Auftrag der Staatlichen Hochschule für Musik und Darstellende Kunst Stuttgart (Stuttgarter Musikwissenschaftliche Schriften) Pocket book, Mainz: Schott.

Wesley, Paul (1978): A Study of Harry Partch with Particular Emphasis on his Microtonal Tuning System, unpublished Typo script, University of Cincinnati.

Yasser, Joseph (1975): A theory of evolving tonality. New York: American library of Musicology.