Problem: 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.

Partch made public his theories in his book Genesis of a Music (1947). He opens the book with an overview of music history, and argues that Western music began to suffer from the time of Bach, after which twelve-tone equal temperament was adopted to the exclusion of other tuning systems, and abstract, instrumental music became the norm. Partch sought to bring vocal music back to prominence, and adopted tunings and scales he believed more suitable to singing.  Inspired by Sensations of Tone, Hermann von Helmholtz's book on acoustics and the perception of sound, Partch based his music strictly on just intonation. He tuned his instruments using the overtone series, and extended it past the twelfth partial. This allowed for a larger number of smaller, unequal intervals than found in the Western classical music tradition's twelve-tone equal temperament. Partch's tuning is often classed as microtonality, as it allowed for intervals smaller than 100 cents, though Partch did not conceive his tuning in such a context. Instead, he saw it as a return to pre-Classical Western musical roots, in particular to the music of the ancient Greeks. By taking the principles he found in Helmholtz's book, he expanded his tuning system until it allowed for a division of the octave into 43 tones based on ratios of small integers.  Partch uses the terms Otonality and Utonality to describe chords whose pitch classes are the harmonics or subharmonics of a given fixed tone. These six-tone chords function in Partch's music much the same that the three-tone major and minor chords (or triads) do in classical music. The Otonalities are derived from the overtone series, and the Utonalities from the undertone series.

what are some of his other theories?

Answer with quotes: Partch based his music strictly on just intonation. He tuned his instruments using the overtone series, and extended it


Problem: Tristano was born in Chicago on March 19, 1919. His mother, Rose Tristano (nee Malano), was also born in Chicago. His father, Michael Joseph Tristano, was born in Italy and moved to the United States as a child. Lennie was the second of four brothers.

In Ind's view, Tristano "was always so gentle, so charming and so quietly spoken that his directness could be unnerving." This directness was noted by others, including bassist Chubby Jackson, who commented that Tristano had almost no tact and would not worry about being rude or making others feel incompetent. Some of his students described Tristano as domineering, but others indicated that this impression came from his demanding discipline in training and attitude to music.  Writer Barry Ulanov commented in 1946 that Tristano "was not content merely to feel something, [...] he had to explore ideas, to experience them, to think them through carefully, thoroughly, logically until he could fully grasp them and then hold on to them." Tristano criticized the free jazz that began in the 1960s for its lack of musical logic as well as its expression of negative emotions. "If you feel angry with somebody you hit him on the nose - not try to play angry music", he commented; "Express all that is positive. Beauty is a positive thing." He expanded on this by distinguishing emotion from feeling, and suggested that playing a particular emotion was egotistical and lacking in feeling.  Tristano also complained about the commercialization of jazz and what he perceived to be the requirement to abandon the artistic part of playing in order to earn a living from performing. Later commentators have suggested that these complaints ignored the freedom that he was given by Atlantic and blamed others for what in many cases were the outcomes of his own career decisions.

What did Winter Barry U say about him

Answer with quotes: he had to explore ideas, to experience them, to think them through carefully, thoroughly, logically until he could fully grasp them and then hold on to them.


Problem: Eugenie "Genie" Bouchard (; French: Eugenie Bouchard, pronounced [oZeni buSaR]); born February 25, 1994) is a Canadian professional tennis player. At the 2014 Wimbledon Championships, Bouchard became the first Canadian-born player representing Canada to reach the finals of a Grand Slam in singles, finishing runner-up to Petra Kvitova. She also reached the semifinals of the 2014 Australian Open and 2014 French Open, and won the 2012 Wimbledon girls' title. Following the end of the 2013 WTA Tour, she was named WTA Newcomer of the Year.

Bouchard started the year by playing at the Brisbane International. She was defeated in the first round by Shelby Rogers. At the Sydney International, Bouchard defeated world No. 23 Zhang Shuai in the first round. She then defeated world No. 6 Dominika Cibulkova in straight sets to set up a quarterfinal meeting with world No. 27 Anastasia Pavlyuchenkova, whom she defeated to reach her first semifinal since February 2016. She lost to world No. 10 Johanna Konta. At the Australian Open, Bouchard defeated Louisa Chirico and Peng Shuai in her first two matches, but lost to Coco Vandeweghe in three sets in the third round. She lost in the first round of her next four tournaments, the Mexican Open, Indian Wells Masters, Miami Open and Monterrey Open respectively.  Bouchard made a return to the ITF Pro Circuit for the first time in nearly four years at the ITF 80K in Indian Harbour Beach, but was defeated by Victoria Duval in the quarterfinals. Two weeks later, she lost in the opening round of the Istanbul Cup to Jana Cepelova. In May at the WTA Premier Mandatory Madrid Open, she won her first tour-level match since the Australian Open in January with a victory over Alize Cornet. She then managed to defeat Maria Sharapova in the second round, her first win in five meetings, to set up a match with world No. 2 Angelique Kerber in the third round. Bouchard won the first set and was up 5-0 in the second before Kerber had to retire with a left thigh injury. Her run was ended by world No. 9 Svetlana Kuznetsova in the quarterfinals. At the French Open, she won her first round match over Risa Ozaki but was defeated by Anastasija Sevastova in the second. Bouchard lost in the opening round of the Wimbledon Championships to Carla Suarez Navarro. At the Citi Open in August, she reached her second WTA doubles final but lost to Shuko Aoyama and Renata Voracova with partner Sloane Stephens. In October, at her last tournament of the season, the BGL Luxembourg Open, she and partner Kirsten Flipkens advanced to the doubles final but were defeated by Lesley Kerkhove and Lidziya Marozava.  In December, it was announced that trial for Bouchard's lawsuit against the USTA (regarding the alleged head injury caused to Bouchard by the slippery surface in a physiotherapy room at the 2015 US Open) would take place in late February 2018, and is expected to last around 10 days.

Did she have coahing to improve her form?

Answer with quotes: