The American composer Harry Partch (1901–1974) composed in tunings not available on conventional Western instruments. His music emphasized monophony and corporeality, in contrast to the abstract, polyphonic music prevalent at the time. His earliest compositions were small-scale pieces to be intoned to instrumental backing; his later works were large-scale, integrated theater productions in which he expected each of the performers to sing, dance, speak, and play instruments.
Partch described the theory and practice of his music in his book Genesis of a Music, which he had published first in 1947, and in an expanded edition in 1974. A collection of essays, journals, and librettos by Partch was published as posthumously as Bitter Music: Collected Journals, Essays, Introductions, and Librettos 1991. Philip Blackburn edited a collection of Partch's writings, drawings, scores, and photographs, published as Enclosure 3 in 1997.
Partch partially supported himself with the sales of recordings, which he began making in the late 1930s. He published his recordings under the Gate 5 Records label beginning in 1953. Towards the end of his life, Columbia Masterworks released records of his works. Partch scored six films by Madeline Toutelot, starting with 1957's Windsong, and was the subject of a number of documentaries.
Partch made recordings of his own music; on recordings such as the soundtrack to Windsong, he used multitrack recording, which allowed him to play all the instruments himself. He never used synthesized or computer-generated sounds, though he had access to such technology.