This study has two purposes: (1) to provide a general description of all the instruments for which Harry Partch composed; and (2) to examine how the instruments work in Partch's musical theatre.;There is no complete list nor organological study of Partch's instruments. Although Partch explained many of his instruments in Genesis of A Music (1974), not all of them are mentioned. Even for the instruments mentioned, the tuning, the notation, and the construction are not sufficiently explained. The origin of some instruments is not clarified. Thus, the need for a basic description is obvious. The general description of Partch's instruments addressed in this work include: classification, construction, tuning, range, notation, and playing technique. The instruments are arranged according to the classification system (modified Sachs-Hornbostel system) made by the present writer especially for Partch's instruments. The origin, the background of the process of construction, and the related information are also added when necessary.;Much of the music of Harry Partch is based on the concept of "total theatre" best illustrated by the ancient Greek notion of mousike. In a fully realized production, Partch's musical theatre involves spoken words accompanied by music tuned in Just Intonation, dramatic story conveyed through actions, dances by instrumentalists and singer/actor/dancers, and stage setting which includes his instruments. In such a dramatic integration the instruments do not work only as sound producers. They are never relegated to the orchestral pit but are always on the stage. As a part of the stage setting, they have to be seen. Partch's instruments also require the instrumentalists to display certain athletic actions.;In this study, we will view Partch's instruments as multilateral apparatuses for his musical theatre. They are examined in three categories; (1) the apparatus for sound production; (2) the apparatus for stage setting; and (3) the apparatus for the human body. In the first category, we focus on the materials, the gliding tone which characterizes Partch's music, and the hybridization of sound materials. In the second category, we describe the designs of the instruments and the stage settings planned by Partch himself. In the third one, we analyze how the instruments involve the human body in his musical theatre.
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