The Season of the Witch Chronicles, Anecdotes, and Musings on Harry Partch’s The Bewitched

Abstract

During the summer of 1955, Harry Partch went through a thorough artistic transformation. His musical style, dramatic sensibilities, and philosophical approach all pushed him from the Intoning Voice-based works of his early career toward the percussion-based Corporeal works that defined his post-1955 output. While both of these artistic phases have been studied, the short period between is worth considering as a phase of growth so expansive that it cannot be ignored. During this time, Partch found the full dramatic capabilities of the Intoning Voice; he discovered how to use the instruments and players as dramatic components; and he learned the importance of dramatic intent, coherence, and pacing. This dissertation is a synthesis of scholarship and practice, focusing on The Bewitched, in two versions: A Ballet Satire (January 1955) and A Dance Satire (September 1955). Part I considers Partch’s development as a dramatic composer. The two versions of The Bewitched frame the study, which traces Partch’s compositional transformation over the period, by way of his work with Summer 1955 and The Wayward. This study engages with the works as inherently dramatic—conceptually and musically—focusing on dramatic intent and coherence. This section relies on a close analysis of musical scores, performances, and archival materials. Part II is a practicum, exploring the direct application of scholarship and embodied engagement with Partch’s music and instruments as a scholar/performer, including performance interpretation, “tactile” preservation work, and a detailed account of the world premiere performance of The Bewitched: A Ballet Satire from April 2019. Supplementary Materials Included: marimba_eroica_test.aiff Recording of the Marimba Eroica bars, corresponding with figures 4.1-4.4.