Partch-inspired Instruments

Jon Grayson published details of his and other similar instruments in
two books about Sound Sculpture through the now-defunct A.R.C. I think
a cache of these books was rescued and taken to Mills College, though
they may be at Cal Arts now. Some of them were recorded (along with
others) on an LP, "The Sound(s) of Sound Sculpture." Alas, my copies
of the books and the record are either in storage or lost, so I can't
be more specific. David Roseboom at Cal Arts might have more
information available.

Bart Hopkin, editor/publisher of Experimental Musical Instruments
would be a good source. Email him at ExpMusInst@aol.com or see
his web page at http://www.thecombine.com/emi/. Bart is interested in
all types of musical instruments and tunings. I heartily recommend EMI,
its cassettes, wall chart, and books.

While one might argue over the definition of "Partch-type" or
"Partch-inspired," I would think that Lou Harrison's and Bill
Colvig's instruments would qualify. Lou was a close friend of HP
(as well as John Cage) and Lou credited reading "Genesis of a Music"
with helping him recover from a nervous breakdown. While HP did not
use metallic sounds to any great extent (The Spoils of War is the
principal exception), he told Lou that he should develop them.
Lou had used brake drums earlier in the Canticles for percussion)
Bill built metal strung monochords, harps, and JI gamelans.
(See XH 3, 1975 for some details of the last.)

By extension then , one might include the JI gamelan instruments and
the tuned metal tube instruments (tubulongs, tubulons, etc.) of Buzz
Kimball (other instruments as well), Erv Wilson, Dan Schmidt and Paul
Dresher, whom I believe was the first to make them. (Is this true or or
did Dresher invent the aluminum plate Bonang at Mills? His recent
work has been pop-oriented and in 12-tet.)

I have found it impossible to obtain much information on Schoenbeck's
work beyond his mere existence. My recollection is that he believes
in 'found' tunings.

Numerous people have refretted or adapted guitars, mostly by professional
luthiers, though Ivor Darreg adapted a number by himself to various
ET's. Erv Wilson refretted a guitar to his JI "diaphonic cycles," a
modular variant of Schlesinger's harmonia. Tom Stone invented and
played the "Sharmachord," a JI guitar and later invented a type
of interchangeable fretboard guitar, still available in kit form from
Mark Rankin. However, adapting a guitar for the interchangeable fretboards
requires a knowledgeable luthier. Others who have adapted guitars
are Catler, Startett, Hanson, Piehl, Morrison, and others I've undoubtedly
not recalled this instant.

--John



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