From Harry Partch to today's composition-praxis The composition 43 in 43 for an Ensemble of Harry Partch and western musical instruments: the embodiment of theoretical gaining in an artistic product

Ralli, Eleni (2 October 2021). From Harry Partch to today's composition-praxis The composition 43 in 43 for an Ensemble of Harry Partch and western musical instruments: the embodiment of theoretical gaining in an artistic product In: GMTH Kongress. Hochschule für Musik FHNW / Musik-Akademie BASEL. 02.10.2021.

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43 in 43 seeks to merge the specifics of the Partch instruments with the western musical instruments. Harry Partch instruments, constructed to reproduce his theoretical system of 43 non-equidistant tones per octave, were exclusively performed by him and few specially trained friends and followers. They come with a fixed intonation, a notation almost cryptical invented for them, and specific timbres. On the other hand, since the late 19th-century western musical instruments, although producing more than 43-tones per octave, adapted a system that favors equal temperament (semitones) imprinted on a "traditional" notation and provide a broad timbre palette. This chamber music work (43') aims to bring the previously largely closed Partch cosmos with instruments that he - with few inevitable exceptions - avoided throughout his whole life. Cooperation with the members of Ensemble Musikfabrik Cologne - specialized in the performance of contemporary music on their instruments and only recently introduced to the Partch ones - led to an examination of different combinatory possibilities. Following an organization in miniatures (micro-structure) grouped in bigger unites (cycles) seemed the most appropriate way to deal with this exploratory approach and expose the instruments' different qualities while creating a narrative. Moreover, this fragmental structure assisted to a more practical aspect — the mobility on stage. Changing instruments - common praxis during Partch's musical performances - revives. The pre-and main composition phases imply the theoretical impact. Practical aspects will be highlighted at a second level as the composer-performer cooperation, critical thoughts, ensemble feedback, and recordings. Could someone, when using Partch's instruments - really escape his cosmos?

Item Type:	Conference or Workshop Item (Paper)
Division/Institute:	Bern Academy of the Arts Bern Academy of the Arts > Institute Interpretation
Name:	Ralli, Eleni
Subjects:	M Music and Books on Music > M Music
Language:	English
Submitter:	Eleni Ralli
Date Deposited:	03 Nov 2021 10:30
Last Modified:	23 Dec 2021 15:02
ARBOR DOI:	10.24451/arbor.15623
URI:	https://arbor.bfh.ch/id/eprint/15623