The study of American, microtonal composer Harry Partch (1901-1974) is complicated by specious autobiographical accounts, contradictory theoretical positions, and a methodology predicated on a vague concept of intuition. These complications are exacerbated by his use of a forty-three-tone scale, non-Western sources of inspiration, novel terms for preexisting ideas, and an integration of music, drama, and dance. In addition, his use of ratios to represent pitch, and the unique tablature notations for his nearly forty invented instruments create a seemingly insurmountable barrier to the analysis of his music. Yet while these complexities are initially overwhelming, they actually work to obscure the simplicity of Partch’s core ideas and compositional technique. At the foundation of all his ideas was an individualistic concept he called One Voice. One Voice was the process by which Partch projected his self image through his works. In doing so, he created a model that aimed to inspire others toward individual expression and artistic investigation. The concept of One Voice is often treated as a byproduct of Partch’s more well-known theories, namely Monophony (his intonation scheme), and Corporealism (his performance aesthetic). On closer examination, however, it can be shown that One Voice was in fact his most fundamental theory.

This dissertation will provide new insight into Partch’s work by reevaluating it from the perspective of One Voice as his fundamental theory. It will be asserted that both his writings and his compositions support this view, and that Monophony and Corporealism developed out of the concept of One Voice. Along with this thesis, a new methodology for analyzing his music will be proposed to test the assumptions made. By addressing his music directly, Partch’s contributions as a composer can be presented in conjunction with his contributions as a theorist. The intent is to reveal the consistency between his theory and music. Despite claims to the contrary, analysis shows that Partch’s music did follow the principles laid out in his theory. Musical analysis and the concept of One Voice help to reconcile many of the contradictions that arise in Partch’s work, and they allow a holistic understanding of this work for the first time.