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More than is usually the case there is after Harry Partch's death little certainty that any continuity will result from his life's efforts. Practically none of his works are performable without his instruments, and there is only one set of those. They are quite perishable and very difficult to maintain in playable co.ndition. If anything of his work is to survive beyond a very few years, even with dedicated efforts on the part of people now concerned, the effort will have to be well supported. Partch did say, and then gainsaid in his recently republished Genesis of a Music,' that perhaps recordings could be a solution for such a composer as he. If the recording became the definitive art work, as with magnetic tape compositions, which are like paintings, otherwise unpromising undertakings such as his might become feasible. But just about everything Partch composed is not only music but also theater. Although he did some films, most of his works are for the stage. They are heavy on the visual side, and not only because of the instruments, themselves works of sculpture, but as total visual theater. Their impact is not received simply by listening to the music. You do get something, but less even than from an opera you have never seen. Corporealism was a theory that Partch lived. It is a vehement protest against what he considered the negation of the body and the bodily in our society. It resulted specifically in an attack on abstraction. What that meant to him was first of all that music should not be separated from words or visible actions, whether theatrical, choreographic or simply musi

BEFORE CONSIDERING the problem of expanded pitch resources in contemporary composition of music, I shall contrast two different traditions for the realization of precise pitch relations in performance. The first tradition may be represented by the practice of Gregorian chant.1 In plainchant the melody is unaccompanied, or monophonic. Thus the relations of melodic tones to each other are the only intervals used. The perfect fifth and perfect fourth and the interval of difference between them, the major second, are the basis of pitch choice. The particular distribution of the seconds within the melodic distances of fifths and fourths, and the choice of cadence points, determine the "mode" of the music. All major seconds are always the same size,2 as are all minor seconds, since these are the remainder intervals when the largest possible whole number of major seconds subdivides either a perfect fifth or a perfect fourth. All other intervals are likewise fixed in size, but are much more difficult to sing in tune. A contrasting type of pitch usage is illustrated in East Indian monophonic musical practice.A This monophony "opposes" a line of fluctuating pitch against a fixed pitch, or drone. A specific emotional expression is achieved by means of a particular set of intervals measured against the drone. The "harmonic" relation of melodic pitches to the drone is primary to this expression, whereas the intervallic relations between melodic tones are less important. Possible relations to the drone are classified as consonant,4 dissonant, and out-of-tune; i.e.