Re: Carrillo and 96-tet

I am sorry to report that I just discovered that Patricia Smith, the musician and scholar who translated Sonido 13 into English and transcribed Tepepan (IIRC) from Carrillo's to traditional notation (with microtonal accidentals) died last Summer in Florida.

I worked with her in the late 60's on tuning theory at UCSD. She became interested in Carrillo's music and became a close friend of Carrillo's daughter Lolita.

While at a biochemistry meeting in Mexico City in the 1980's, I visited the Carrillo home in San Angel, D.F., where saw and noodled on the pianos, and obtained some of Carrillo's writings.

Interestingly, I noticed that there was a copy of Novaro's Sistema Natural de la Musica in Carrillo's bookshelf. Lolita said that he had interviewed her father, but not credited him in the book. I had not heard about the litigation, but Pat Smith said that there was a lot of polemic in Sonido Trece, most of which she decided to omit in her translation.

--John

> Pat Smith said that there was a lot of
> polemic in Sonido Trece, most of which she decided to omit in her
> translation.
>
I have almost put together a family tree for the family
with the help of Carrillo's niece, Carmen, and it will
be easier to track down the available information,
but I guess there must be somebody alive who worked
at the Conservatoire (in Mexico City) and new them both,
and what was going on.

I can see the clash in their conceptions, but considering
the dimensions of Carrillo's work it would be more likely
of him looking reacting to the work of Partch than to the
work of Novaro, which I have to say I do not know much
about.

Tony Salinas