Asset Details
Do you wish to reserve the book?
Commentary
Hey, we have placed the reservation for you!
By the way, why not check out events that you can attend while you pick your title.
Oops! Something went wrong.
Looks like we were not able to place the reservation. Kindly try again later.
Are you sure you want to remove the book from the shelf?
Commentary
Do you wish to request the book?
Commentary
Please be aware that the book you have requested cannot be checked out. If you would like to checkout this book, you can reserve another copy
We have requested the book for you!
Your request is successful and it will be processed during the Library working hours. Please check the status of your request in My Requests.
Oops! Something went wrong.
Looks like we were not able to place your request. Kindly try again later.
Journal Article
Commentary
2024
Overview
In the case of Carrillo, both his microtonal theory and his ideas on mathematical metamorphosis draw on his extensive training in the European classical tradition, while indulging his tendency towards self-aggrandizement via personal experiment and mythology, and his desire to exalt the present and potential future of Mexican music. [...]Czech composer and theorist Hába—who moved to Berlin with his teacher Franz Schreker in 1920—and the Russian emigre Wyschnegradsky were soon to pioneer microtonal systems independent of tonal models. The various theoretical writings of this Berlin-centered group appeared to take a more pragmatic, systematic approach to the topic of microtonality than that offered by Carrillo’s fanciful declaration of “The Thirteenth Sound,” with its focus on microtonal expansion as “transcendental event” (Carrillo 1923, 2), as well as its echoes of Mexican revolutionary discourse in 1920s Mexico (Madrid 2015, 145; Pareyón 2022). The generation of microtonal divisions followed from the “law of division” found in the sixth octave of the overtone series, but can also be found in much music of the past, as well as in folk repertoires.
