Editing Harry Partch (section)

===University work (1947–1962)===
Supported by Guggenheim and university grants, Partch took up residence at the [[University of Wisconsin]] from 1944 until 1947.  This was a productive period, in which he lectured, trained an ensemble, staged performances, released his first recordings, and completed his book, now called ''[[Genesis of a Music]]''.  ''Genesis'' was completed in 1947 and published in 1949 by the [[University of Wisconsin Press]].  He left the university, as it never accepted him as a member of the permanent staff, and there was little space for his growing stock of instruments.{{sfn|McGeary|2000|p=xx}}

In 1949, pianist [[Gunnar Johansen]] allowed Partch to convert a [[Forge|smithy]] on his ranch in [[Blue Mounds, Wisconsin]] into a studio. Partch worked there with support from the Guggenheim Foundation,{{sfn|McGeary|2000|p=xx}} and made recordings, primarily of his ''Eleven Intrusions'' (1949–1950).{{sfn|Gilmore|Johnston|2002|p=367}} He was assisted for six months by composer [[Ben Johnston (composer)|Ben Johnston]], who performed on Partch's recordings.{{sfn|McGeary|2000|p=xxi}}  In early 1951, Partch moved to [[Oakland]] for health reasons, and prepared for a production of ''[[King Oedipus]]'' at [[Mills College]],{{sfn|McGeary|2000|p=xxi}} with the support of designer [[Arch Lauterer]].{{sfn|Foley|2012|p=101}}  Performances of ''King Oedipus'' in March were extensively reviewed, but a planned recording was blocked by the [[Yeats]] estate, which refused to grant permission to use Yeats's translation of Sophocles's play.{{efn|A recording with Yeats' translation has since been released, as Yeats's text has passed into the [[public domain]].}}{{sfn|McGeary|2000|p=xxi}}

In February 1953, Partch founded a studio, named [[Gate 5]], in an abandoned shipyard in [[Sausalito]], California, where he composed, built instruments and staged performances.  Subscriptions to raise money for recordings were organized by the Harry Partch Trust Fund, an organization put together by friends and supporters. The recordings were sold via mail order, as were later releases on the Gate 5 Records label. The money raised from these recordings became his main source of income.{{sfn|McGeary|2000|p=xxi}}  Partch's three ''Plectra and Percussion Dances'', ''Ring Around the Moon'' (1949–1950), ''Castor and Pollux'', and ''Even Wild Horses'', premiered on Berkeley's [[KPFA]] radio in November 1953.{{sfn|Gilmore|Johnston|2002|p=367}}

After completing ''The Bewitched'' in January 1955, Partch tried to find the means to put on a production of it.{{sfn|McGeary|2000|p=xxii}} Ben Johnston introduced [[Danlee Mitchell]] to Partch at the [[University of Illinois]]; Mitchell later became Partch's heir.{{sfn|Johnston|2006|p=249}}  In March 1957, with the help of Johnston and the [[Fromm Foundation]], ''The Bewitched'' was performed at the University of Illinois, and later at [[Washington University in St. Louis]], though Partch was displeased with choreographer [[Alwin Nikolais]]'s interpretation.{{sfn|McGeary|2000|p=xxi}}  Later in 1957, Partch provided the music for [[Madeline Tourtelot]]'s film ''Windsong'', the first of six film collaborations between the two.  From 1959 to 1962, Partch received further appointments from the University of Illinois, and staged productions of ''Revelation in the Courthouse Park''{{efn|''Revelation in the Courthouse Park'' was based on ''[[The Bacchae]]'' by ancient Greek dramatist [[Euripides]].{{sfn|Gilmore|Johnston|2002|p=367}} }} in 1961 and ''Water! Water!'' in 1962.{{sfn|McGeary|2000|p=xxii}}  Though these two works were based, as ''King Oedipus'' had been, on [[Greek mythology]], they modernized the settings and incorporated elements of popular music.{{sfn|Gilmore|Johnston|2002|p=367}}  Partch had support from several departments and organizations at the university, but continuing hostility from the music department convinced him to leave and return to California.{{sfn|McGeary|2000|p=xxii}}