Answer the question at the end by quoting:

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 is the book called?

Partch made public his theories in his book Genesis of a Music (1947).

IN: Steeleye Span are an English folk rock band formed in 1969. Still active today, along with Fairport Convention, they are amongst the best known acts of the British folk revival, and were among the most commercially successful, thanks to their hit singles "Gaudete" and "All Around My Hat". They had four Top 40 albums and achieved a certified gold record with sales of "All Around My Hat". Throughout their history, Steeleye Span have seen many personnel changes.

With their star now conspicuously ascendant, the band brought in producer Mike Batt (best known for his musical association with the Wombles and, more recently, Katie Melua) to work on their eighth album, All Around My Hat, and their biggest success would come with the release of the title track as a single - it reached number 5 in the UK Charts in late 1975. The single was also released in other European countries and gave them a breakthrough in the Netherlands and Germany. Other well-known tracks on the album included "Black Jack Davy" (sampled by rappers Goldie Lookin Chain on their track "The Maggot") and the rocky "Hard Times of Old England". But while All Around My Hat was the height of the band's commercial success, the good times were not to last long. Despite touring almost every year since 1975, they have not had another hit single, nor any success in the album chart since the late 1970s. The follow-up album Rocket Cottage (1976), also produced by Batt, proved to be a commercial flop, despite having much in common musically with its immediate predecessor. The opening track, "London", was penned by Rick Kemp as a follow-up to "All Around My Hat", in response to a request from the record label that Kemp describes as "we'll have another one of those, please", and released as a single. The song failed to make the UK Chart, in complete contrast to "All Around My Hat", despite having much in common with its predecessor - a 12/8 time signature, upbeat tempo, solo verses and full harmony chorus. Rocket Cottage also included experimental tracks "Fighting for Strangers" (with sparse vocals singing concurrently in a variety of keys) and, on the final track, excerpts of studio banter between the band members and a seemingly impromptu rendition of "Camptown Races", in which Prior gets the lyrics wrong. But while their seventh album, Commoners Crown, was one of their most interesting and varied, including the epic "Long Lankin", the advent of punk saw the mainstream market turning away from folk rock almost overnight, heralding a downturn in commercial fortunes for the band. However, as a thank you to their committed fans (and also to possibly to garner some publicity for their underperforming album), Steeleye Span showered attendees of a November 1976 concert in London, England, with the then-equivalent of US$13,600 in British pound notes. The unannounced idea was Maddy Prior's, and--remarkably--no-one was injured in the rush to grab the falling bills. Indeed, contemporary press reports indicated that it took some time for the crowd to even realise what was happening. Thanks to their connection with Mike Batt, band members appeared in Womble costumes on Top of the Pops, performing the Wombles hit "Superwomble".

What happened afterwards since they didn't have another single or success?

OUT:
The follow-up album Rocket Cottage (1976), also produced by Batt, proved to be a commercial flop,