WHEN I was 17, I took a record of John Cage’s piano pieces out of the library. The pieces were interesting, but what really arrested my attention was the B-side of the album — a work called “The Dreamer That Remains,” by a composer I’d never heard of named Harry Partch. This was music from another planet: unearthly yowling strings, metallic twangs, rippling liquid percussion. I couldn’t even identify the instruments.

I loaned the record to a friend of mine, the only other person in the world I then knew who liked classical music. The piece’s refrain, in which a chorus of corpses in a funeral home sing, “Let us loiter together/And know one another,” became a two-man in-joke between us. For years, as far as we could tell, we were the only people who knew about Harry Partch. He was, in a sense, ours.

This was in the ’80s, a time when there was simply no way of learning much more about Harry Partch, at least not that I knew of. If I were a 17-year-old discovering Harry Partch today, I could Google him, and I’d immediately find the Harry Partch Information Center and Corporeal Meadows, where I’d learn all about his system of intonation with a 43-note octave and his instruments made of bamboo, jet-engine nose cones, artillery-shell casings and whiskey bottles, with names like the Gourd Tree, Boo II, Zymo-Xyl and Marimba Eroica. I’d even find listings for the rare public performances of Partch’s work. Maybe most important, I’d be able to connect with hundreds of other people who were interested in Harry Partch, avant-garde music and other weird stuff, and not have to feel so eccentric and freakish and alone.

All of which is good, of course. That’s what the Internet is for, yes? Information — zettabytes of information — at our instantaneous disposal.