input: The English word "Jew" continues Middle English Gyw, Iewe. These terms derive from Old French giu, earlier juieu, which through elision had dropped the letter "d" from the Medieval Latin Iudaeus, which, like the New Testament Greek term Ioudaios, meant both "Jew" and "Judean" / "of Judea". The Greek term was a loan from Aramaic Y'hudai, corresponding to Hebrew y@hv'diy Yehudi, originally the term for a member of the tribe of Judah or the people of the kingdom of Judah. According to the Hebrew Bible, the name of both the tribe and kingdom derive from Judah, the fourth son of Jacob. Genesis 29:35 and 49:8 connect the name "Judah" with the verb yada, meaning "praise", but scholars generally agree that the name of both the patriarch and the kingdom instead have a geographic origin--possibly referring to the gorges and ravines of the region.  The Hebrew word for "Jew" is y@hv'diy Yehudi, with the plural y@hv'diym Yehudim. Endonyms in other Jewish languages include the Ladino g'vdyv Djudio (plural g'vdyvs, Djudios) and the Yiddish yyid Yid (plural yyidn Yidn).  The etymological equivalent is in use in other languages, e.g., yahuwdiyW yahudi (sg.), al-yahud (pl.), in Arabic, "Jude" in German, "judeu" in Portuguese, "juif" in French, "jode" in Danish and Norwegian, "judio" in Spanish, "jood" in Dutch, "zyd" in Polish etc., but derivations of the word "Hebrew" are also in use to describe a Jew, e.g., in Italian (Ebreo), in Persian ("Ebri/Ebrani" (Persian: `bry/`brny)) and Russian (Evrei, Yevrey). The German word "Jude" is pronounced ['ju:d@], the corresponding adjective "judisch" ['jy:dIS] (Jewish) is the origin of the word "Yiddish".  According to The American Heritage Dictionary of the English Language, fourth edition (2000),  It is widely recognized that the attributive use of the noun Jew, in phrases such as Jew lawyer or Jew ethics, is both vulgar and highly offensive. In such contexts Jewish is the only acceptable possibility. Some people, however, have become so wary of this construction that they have extended the stigma to any use of Jew as a noun, a practice that carries risks of its own. In a sentence such as There are now several Jews on the council, which is unobjectionable, the substitution of a circumlocution like Jewish people or persons of Jewish background may in itself cause offense for seeming to imply that Jew has a negative connotation when used as a noun.

Answer this question "Are there any other interesting aspects about this article?"
output: 

Question: Harry Partch (June 24, 1901 - September 3, 1974) was an American composer, music theorist, and creator of musical instruments. He composed using scales of unequal intervals in just intonation, and was one of the first 20th-century composers in the West to work systematically with microtonal scales. He built custom-made instruments in these tunings on which to play his compositions, and described his theory and practice in his book Genesis of a Music (1947). Partch composed with scales dividing the octave into 43 unequal tones derived from the natural harmonic series; these scales allowed for more tones of smaller intervals than in standard Western tuning, which uses twelve equal intervals to the octave.

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.  In 1949, pianist Gunnar Johansen allowed Partch to convert a smithy on his ranch to a studio. Partch worked there with support from the Guggenheim Foundation, and did recordings, primarily of his Eleven Intrusions (1949-1950). He was assisted for six months by composer Ben Johnston, who performed on Partch's recordings. In spring 1951, Partch moved to Oakland for health reasons, and prepared for a production of King Oedipus at Mills College, with the support of designer Arch Lauterer. 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.  In February 1953, Partch founded the studio 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. 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.  After completing The Bewitched in January 1955, Partch tried to find the means to put on a production of it. Ben Johnston introduced Danlee Mitchell to Partch at the University of Illinois; Mitchell later became Partch's heir. 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. 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 in 1961 and Water! Water! in 1962. Though these two works were based, as King Oedipus had been, on Greek mythology, they modernized the settings and incorporated elements of popular music. 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.

Using a quote from the above article, answer the following question: Did he produce any albums?
HHHHHH
Answer:
and did recordings, primarily of his Eleven Intrusions (1949-1950). He was assisted for six months by composer Ben Johnston, who performed on Partch's recordings.