Jonas Reichert – Microtonality in Mexico

The book paints a portrait of a pioneer in music history who is as fascinating as he is controversial: Julián Carrillo, who sought to break the boundaries of the Western tonal system with his concept of “Sonido 13” in the early 20th century. His idea of microtonal music, which goes beyond the classical twelve semitones, was intended to secure Mexico a place in the musical avant-garde—yet it also met with skepticism early on.

The study shows that this skepticism was not unfounded. Newly uncovered sources reveal that Carrillo’s project oscillated between innovation and overconfidence. In particular, the years 1921 through 1925 are reconstructed in detail for the first time, including transcriptions of his early compositions. This brings to light a complex web of experiments, misunderstandings, and cultural fault lines.

At the same time, the study highlights the true innovative power of “Sonido 13” and identifies it as Latin America’s first microtonal compositional system. Carrillo emerges as an ambivalent figure: internationally acclaimed yet long marginalized, caught between recognition and oblivion.

Overall, the picture that emerges is that of a microhistorical journey of discovery that critically examines not only musical ideas but also how they are received—navigating the terrain between fascination, myth, and scholarly reevaluation.