The great precursor here was Harry Partch (1901–74), as close to a total maverick or “alternative” figure as the history of music can provide. He not only talked the talk of a maverick; he lived the life as well. His was a nomadic existence that included a period in 1935 (at the depths of the Great Depression) as a “hobo” or vagrant, a homeless wanderer living in various transient shelters along the West Coast of the United States. A diary he kept during this period, published posthumously under the title Bitter Music, shows him translating his social alienation into an artistic program. There are many Musorgsky- or Janáěek-like notations of overheard “speech-melodies” (Ex. 10-1), followed by attempts at harmonizing them, and even a few sketches that shape them into dramatic scenes, including some that eventually found their way into his “music-dance drama” King Oedipus.
- Citation (MLA):
- Richard Taruskin. "Chapter 10 Millennium's End." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 17 Jan. 2017. <http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-010006.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 10 Millennium's End. In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Retrieved 17 Jan. 2017, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-010006.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 10 Millennium's End." In Music in the Late Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 17 Jan. 2017, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-010006.xml