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Genesis Of A Music: An Account Of A Creative Work, Its Roots, And Its Fulfillments, Second Edition (Da Capo Paperback) [Englisch] [Taschenbuch]

Harry Partch
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Kurzbeschreibung

22. August 1979 Da Capo Paperback
Among the few truly experimental composers in our cultural history, Harry Partch's life (19011974) and music embody most completely the quintessential American rootlessness, isolation, pre-civilized cult of experience, and dichotomy of practical invention and transcendental visions. Having lived mostly in the remote deserts of Arizona and New Mexico with no access to formal training, Partch naturally created theatrical ritualistic works incorporating Indian chants, Japanese kabuki and Noh, Polynesian microtones, Balinese gamelan, Greek tragedy, dance, mime, and sardonic commentary on Hollywood and commercial pop music of modern civilization. First published in 1949, Genesis of a Music is the manifesto of Partch's radical compositional practice and instruments (which owe nothing to the 300-year-old European tradition of Western music. ) He contrasts Abstract and Corporeal music, proclaiming the latter as the vital, emotionally tactile form derived from the spoken word (like Greek, Chinese, Arabic, and Indian musics) and surveys the history of world music at length from this perspective. Parts II, III, and IV explain Partch's theories of scales, intonation, and instrument construction with copious acoustical and mathematical documentation. Anyone with a musically creative attitude, whether or not familiar with traditional music theory, will find this book revelatory.

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Produktinformation

  • Taschenbuch: 552 Seiten
  • Verlag: Da Capo Press; Auflage: Enlarged. (22. August 1979)
  • Sprache: Englisch
  • ISBN-10: 030680106X
  • ISBN-13: 978-0306801068
  • Größe und/oder Gewicht: 15,2 x 3,1 x 22,9 cm
  • Durchschnittliche Kundenbewertung: 4.5 von 5 Sternen  Alle Rezensionen anzeigen (2 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 157.525 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

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Synopsis

Among the few truly experimental composers in our cultural history, Harry Partch's life (19011974) and music embody most completely the quintessential American rootlessness, isolation, pre-civilized cult of experience, and dichotomy of practical invention and transcendental visions. Having lived mostly in the remote deserts of Arizona and New Mexico with no access to formal training, Partch naturally created theatrical ritualistic works incorporating Indian chants, Japanese kabuki and Noh, Polynesian microtones, Balinese gamelan, Greek tragedy, dance, mime, and sardonic commentary on Hollywood and commercial pop music of modern civilization. First published in 1949, Genesis of a Music is the manifesto of Partch's radical compositional practice and instruments (which owe nothing to the 300-year-old European tradition of Western music. ) He contrasts Abstract and Corporeal music, proclaiming the latter as the vital, emotionally tactile form derived from the spoken word (like Greek, Chinese, Arabic, and Indian musics) and surveys the history of world music at length from this perspective.

Parts II, III, and IV explain Partch's theories of scales, intonation, and instrument construction with copious acoustical and mathematical documentation. Anyone with a musically creative attitude, whether or not familiar with traditional music theory, will find this book revelatory.


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In diesem Buch (Mehr dazu)
Einleitungssatz
IT WOULD seem axiomatic that any music, whether it is that of a well writer of symphonies or that of an anonymous folk singer, reveals the philosophic attitude of its creator. Lesen Sie die erste Seite
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5.0 von 5 Sternen THE desk reference on Just Intonation 2. November 1999
Von Bob Lee
Format:Taschenbuch
As a steel guitarist, I find the entire subject of Just Intonation (JI) fascinating. It's a beautiful sound, perfectly aligned with the laws of physics. Partch's book includes tables of all of the JI ratios, translated into cents. This is the ultimate reference book for anyone experimenting with tunings.
Partch's music may not be your cup of tea, but the logic behind it is top notch. With this book and his home-made instuments (there are pictures and descriptions), Partch kicked open the door for the modern micro-tonal movement. The musical universe will never be the same.
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0 von 1 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen fascinating 21. April 1999
Von Ein Kunde
Format:Taschenbuch
I read this quite a few years ago, and my memory is a little vague, but I can give you some idea what we it is. Harry Partch was a musical maverick who invented a forty-three-(or forty-something)-note scale (forty-three notes to the octave, that is) based on the eleventh partial (partial, not harmonic: Harry is fussy about the distinction). Here he explains his scale, the instruments he invented to play it, his aesthetic of "corporeality" (not "corpulence"--don't be confused), and rants and raves a bit. Fascinating. By the bye, some equally--or even more--fascinating musical ramifications of acoustical theory are to be found in PENTATONIC SCALES FOR THE JAZZ-ROCK KEYBOARDIST by Jeff Burns.
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Amazon.com: 4.7 von 5 Sternen  9 Rezensionen
14 von 16 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen THE desk reference on Just Intonation 2. November 1999
Von Bob Lee - Veröffentlicht auf Amazon.com
Format:Taschenbuch
As a steel guitarist, I find the entire subject of Just Intonation (JI) fascinating. It's a beautiful sound, perfectly aligned with the laws of physics. Partch's book includes tables of all of the JI ratios, translated into cents. This is the ultimate reference book for anyone experimenting with tunings.
Partch's music may not be your cup of tea, but the logic behind it is top notch. With this book and his home-made instuments (there are pictures and descriptions), Partch kicked open the door for the modern micro-tonal movement. The musical universe will never be the same.
8 von 9 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Most of today's innovators started with this book 17. Januar 2005
Von Charles S. Hubbard Jr. - Veröffentlicht auf Amazon.com
Format:Taschenbuch
I disagree that you shouldn't start with this book. Most books that even mention the subject of JI gloss over it, insult your intelligence without providing any real data to make your own decisions, because most of the people writing those books consider JI a curiosity. If you ever read more than one reference to JI, you already know most of what most sources tell you.

Partch is certainly bombastic, which gave me many a chuckle. He was very very defensive, with good reason.

He also deals with subharmonic series- minor tonalities- which makes up a full half of his system, and which is explicitly eschewed by Doty's Primer. Doty denies there is any consonance to it and refuses to discuss it, reducing every harmony into least-common-denominators to find some sort of "absolute consonance level", which results in ratios with huge numbers that tell you nothing about the purpose of the chord. For a minor triad, Partch would say "1/4;1/5;1/6" and Doty would say 10:12:15. Partch also backs his ideas up with everyone from Archytas to Ptolemy to Galilei.

Any other book about or by Partch is focused on the novelty of his instruments, his "43 notes!!!" (which sickened him, being that he often used more or less in various pieces- it is not about the number of notes) or his feelings on life and aesthetics. Partch despised concert music- which doesn't mean a thing to me. This book gives you the facts, the background to actually be able to use the innovations Partch gave to the world.

I would recommend, in addition to this, reading George A. Miller's essay "The Magical Number 7, +/- 2" and any resources you can find on Gestalt perception and the Law of Pragnanz. Without these fundamental perceptual ideas, your 10,000-note octaves will sound like chaos.
13 von 17 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen You had to be there. 23. Januar 2005
Von William B. Loughborough - Veröffentlicht auf Amazon.com
Format:Taschenbuch
I was a part of Harry's world for a time in the mid 1950s, maybe even a colleague as well as a devotee of sorts. I took a 40 year sabbatical and am again working in the field of musical instrument design/manufacture/performance.

This book is like a bible to me in many ways but what most of the reviews lack is the experience of having "been there, heard/felt that" which is a requirement for really getting it.

All the theoretical/philosophical considerations are mere historical/philosophical blather compared to actually being around the music itself. The implications of "corporeal" in terms of making/experiencing music rather than talking *about* music are very profound. You can get some idea from sound recordings, videos/films, or Web sites but unless you take part in the experience, you have no idea what's happening here.

I'm sure plenty (most?) people who encountered it were isolated from experiencing it fully by their backgrounds (nature or nurture), but for those who were moved, his work was the palpable exemplification of "profound". His picture should appear in the dictionary entry for "genius".

Love.
2 von 2 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen The technician's definitive guide to Partch's musical system 19. Dezember 1996
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
For those wishing to explore the intricacies of Partch's
musical system and intonation there is no other book.

Partch, although bomabastic, lays the theoretical and
practical foundation for his music. A must for
musicologists and technicians. Following his tables in the
appendices we constructed an alternate tuning table for a
(heresy!) electronic synthesizer.
19 von 27 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Use as directed ONLY. 9. April 2001
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format:Taschenbuch
I'd give this another star, it's a very interesting artifact after all, but I'm afraid my review might be construed, as I'm afraid many readers are approaching this book the wrong way. It is not (nor is it intended to be) a just tuning reference book; it is instead a book about one man's personal musical odyssey: hence the title. If you use it to try to learn about just tuning in particular or tuning in general without already possessing a solid background in acoustics and the history of music theory, you will come away from it with a very warped viewpoint, and when you encounter those who do have a solid background in acoustics and the history of music theory you will embarrass yourself badly.
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