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 other theories did he have?

Partch uses the terms Otonality and Utonality to describe chords whose pitch classes are the harmonics or subharmonics of a given fixed tone.

Answer the question at the end by quoting:

Arthur Antunes Coimbra (Portuguese pronunciation: [aR'tuR a'tunis ko'ibra], born 3 March 1953 in Rio de Janeiro), better known as Zico (['ziku]), is a Brazilian coach and former footballer, who played as an attacking midfielder. Often called the "White Pele", he was a creative playmaker, with excellent technical skills, vision, and an eye for goal, who is considered one of the most clinical finishers and best passers ever, as well as one of the greatest players of all time. Arguably the world's best player of the late 1970s and early 80s, he is regarded as one of the best playmakers and free kick specialists in history, able to bend the ball in all directions.
After receiving offers from A.S. Roma and A.C. Milan, moving to Italy seemed right and a four-million dollar proposal from Udinese was on the table. Such amount of money made bigger clubs pressure the FIGC (Italian Football Federation) that blocked the transfer expecting financial guarantees. This caused a commotion in Udine as enraged Friulians flocked to the streets in protest against the Italian federation and the federal government. Historical reasons would make them shout "O Zico, o Austria!" ("Either Zico or Austria"). At the end of the controversy, the deal went through and though leaving Flamengo fans in sadness, Zico made the Friulians fans finally dream of better days. In the 1983-84 Serie A, his first in Italy, his partnership with Franco Causio promised to take Udinese to a higher level, gaining respect from giants Juventus and Roma. His free kicks caused such an impact that TV sports programs would debate how to stop them. Despite his excellent performance, the club's season ended in disappointment as Udinese, in spite of scoring almost twice as many goals as the previous year, only gathered 32 points and was ninth in the final standing, losing three places in comparison to 1982-83. His personal top scoring dispute against Juventus's Michel Platini was exciting - Zico scored 19 goals, one fewer than top scorer Platini, having played 4 fewer matches than the French footballer due to an injury. Plus, he was voted 1983 Player of the Year by World Soccer Magazine. His following season would be punctuated by injuries and suspensions for openly attacking referees. He also used to complain about the board's lack of ambition for not signing competitive players, which made the team too dependent on him. Furthermore, Italian tax officials pressed charges against him for tax evasion. Pressured, Zico delivered an amazing display against Diego Maradona's Napoli, his last match as a bianconero, and returned to Brazil and Flamengo, sponsored by a group of companies. He became a fan favorite with his spectacular goals and is still adored now by all Udinese fans.

when did he become involved with Udinese?
After receiving offers from A.S. Roma and A.C. Milan, moving to Italy seemed right and a four-million dollar proposal from Udinese was on the table.