Un Voyage Du Son Par Les Fils Electroaco

UNIVERSITÉ DU QUÉBEC À MONTRÉAL
UN VOYAGE DU SON PAR LES FILS ÉLECTROACOUSTIQUES

L’ART ET LES NOUVELLES TECHNOLOGIES EN AMÉRIQUE LATINE
THÈSE
PRÉSENTÉE
COMME EXIGENCE PARTIELLE
DU DOCTORAT EN ÉTUDES ET PRATIQUES DES ARTS
PAR
RICARDO L. DAL FARRA
ricardo@dalfarra.com.ar
JANVIER 2006
ii
RÉSUMÉ EN FRANÇAIS
L’histoire de la musique électroacoustique latino-américaine est longue, intéressante et

prolifique, mais peu connue, même régionalement. De nombreux compositeurs nés ou vivants
en Amérique latine ont été très actifs à ce titre, dans certains pays depuis plus de 50 ans, mais
la disponibilité de l’information et des enregistrements de musique électroacoustique à cet
égard et dans cette région a posé de sérieux problèmes aux éducateurs, compositeurs,
interprètes, chercheurs, étudiants et au public en général.
Compte tenu de cette situation, la question suivante s'est imposée comme point de départ
pour ma thèse : comment s'est développée la tradition de la création musicale avec les médias
électroacoustiques en Amérique Latine. Pour y répondre, j'ai adopté une approche historique
en utilisant une méthodologie ethnographique (caractérisée par une immersion à long terme
dans le domaine, par des contacts personnels avec des compositeurs et par ma participation et
mon souci en ce qui concerne l'évolution des arts faisant appel aux nouvelles technologies en
Amérique Latine) dans toute ma recherche.
Ayant commencé à travailler dans le domaine de la musique électroacoustique au milieu des

années 1970 dans mon Argentine natale, il m’a été très difficile d’obtenir de l’information sur
les activités reliées à ce domaine dans des pays voisins et même dans ma propre ville. Bien
que difficile, il était néanmoins possible de trouver les enregistrements de compositeurs
vivant en Europe ou en Amérique du Nord, mais plus ardu de trouver ceux réalisés par des
compositeurs locaux ou régionaux.
Dans divers pays d’Amérique latine, les universités, les organismes d’État et de grandes
fondations privées avaient de temps en temps pris l’initiative de soutenir la recherche en art et
le recours aux nouveaux médias, mais la plupart avaient cessé leurs activités avant de
développer les ressources pour documenter les processus et préserver les résultats.
J’ai obtenu chaque enregistrement et information que j’ai rassemblés, depuis le milieu des
années 1970, en contactant directement chacun des compositeurs. Avec le temps, j’ai
constitué des archives personnelles, modestes mais croissantes, comprenant des notes de
programme de concerts, livres, bulletins, magazines et revues, partitions, lettres, courriels et
des enregistrements sur bobines, cassettes analogiques et quelques vinyles 33 tours. J’ai
décidé de partager mes trésors avec des collègues et étudiants et d’explorer des solutions pour
les rendre accessibles au plus grand nombre possible.
Il y a quelques années, l’UNESCO m’a demandé de rédiger des rapports sur la musique
électroacoustique latino-américaine et les arts médiatiques. Les textes de cette recherche ont
contribué à diffuser de l'information sur le travail de beaucoup d'artistes latino-américains.
Afin de rendre également accessible au public les œuvres musicales, et sauvegarder le

matériel, je cherchais un endroit où la préservation des enregistrements était non seulement
iii
importante mais aussi possible. J’estimais que La fondation Daniel Langlois pour l’art, la
science et la technologie à Montréal était le lieu idéal pour mon projet.
Mes activités continues durant près de 28 mois comme chercheur en résidence à la fondation
Daniel Langlois m’ont permis de numériser et convertir des enregistrements à partir de
différents formats, faire du montage au besoin, et verser dans la base de données de la
fondation tous les renseignements sur les pièces (titre, compositeur, année de composition,
instrumentation, notes de programme, studio de production, version, durée, bio du
compositeur, etc.). À ce jour, janvier 2006, il y a 2152 fichiers audio numériques qui sont
archivés1 au Centre de recherche et de documentation (CR+D) de la fondation.
En complément à cette thèse de doctorat, j'ai développé une collection d'enregistrements

musicaux maintenant disponibles au public. Cette collection est constituée du résultat de mes
recherches (textes, oeuvres musicales, quelques partitions et photographies historiques,
entrevues) et diffusée sur le site Web de la fondation Daniel Langlois.
Les archives comptent des pièces pour médias fixes ainsi que des œuvres mixtes pour
instruments acoustiques ou voix et médias fixes ou systèmes électroniques/interactifs en
direct (1722 compositions). Les archives comprennent aussi des enregistrements audio et
audiovisuels d’entrevues avec des compositeurs et des novateurs techniques ainsi que des
photographies, des vidéos, et quelques très rares partitions.
Une grande partie de l’information textuelle contenue dans la base de données des fichiers de
musique est accessible par le site Web de la fondation Daniel Langlois. L’information
complète (ex. notes de programme) et tous les enregistrements sont accessibles au CR+D.
Une courte sélection de pièces est aussi accessible pour écoute sur le site Web.
La plupart des compositeurs représentés dans ces archives et dans cette dissertation sont nés
dans des pays d’Amérique latine. Il y a aussi quelques compositeurs qui, bien que n’étant pas
originaires de la région, ont poursuivi au moins une partie de leur carrière musicale en
Amérique latine.
Cette thèse renferme de l’information sur des compositeurs liés à 18 pays d’Amérique latine :
Argentine, Bolivie, Brésil, Chili, Colombie, Costa Rica, Cuba, République dominicaine,
Équateur, El Salvador, Guatemala, Mexico, Panama, Paraguay, Pérou, Porto Rico, Uruguay
et Venezuela. L’archive contient des enregistrements de compositeurs de tous les pays
mentionnés.
J’espère que ce texte incitera à explorer ce merveilleux univers musical plutôt inconnu, créé
par des centaines de compositeurs latino-américains au cours des dernières décennies.
Mots clés : musique électroacoustique ; Amérique latine; art et nouvelles technologies ;

éthique ; mémoire ; culture ; contexte ; pionniers ; interdisciplinarité.
1
Il est à noter que le terme « archive » utilisé dans ce texte indique le lieu où sont entreposés à des fins
de conservation un ensemble de documents ou d’information de valeur ou d’intérêt particulier.
iv
UNIVERSITÉ DU QUÉBEC À MONTRÉAL
A JOURNEY OF SOUND THROUGH THE ELECTROACOUSTIC WIRES

ART AND NEW TECHNOLOGIES IN LATIN AMERICA
THESIS
SUBMITTED IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY IN ART STUDIES AND PRACTICES
BY
RICARDO L. DAL FARRA
ricardo@dalfarra.com.ar
JANUARY 2006
v
ACKNOWLEDGEMENTS
Thank you very much to Joanne Lalonde for her guidance, understanding, good mood and
sustained support through all my PhD studies and research.
Thank you very much to Serge Ouaknine for his vision, motivation and positive attitude.
Thanks to Coriún Aharonián (Uruguay), Juan Amenabar’s family (Chile), Jorge Antunes
(Brazil), Rafael Aponte Ledée (Puerto Rico), Isabel Aretz (Argentina), Ricardo Arias
(Colombia), Juan Carlos Barandiaran (Peru), Carlos Barreiro (Colombia), Enmanuel Blanco
(Cuba), César Bolaños (Peru), Catalina Briceño (Daniel Langlois Foundation, Canada),
Andrés Burbano (Colombia), Germán Cáceres (El Salvador), José Miguel Candela (Chile),
Ludovic Carpentier (Daniel Langlois Foundation), Graciela Castillo (Argentina), Otto Castro
(Costa Rica), Joel Chadabe (Electronic Music Foundation, U.S.A.), Guylaine Courcelles
(Daniel Langlois Foundation), Rolando Cori (Chile), Hugh Davies (U.K.), Manuel de Elías
(Mexico), Igor de Gandarias (Guatemala), Alfredo del Mónaco (Venezuela), Alain Depocas
(Daniel Langlois Foundation), Susana Enriquez-Woods (Mexico), Irina Escalante (Cuba),
Milton Estevez (Ecuador), Carlos Ferpozzi (Argentina), Rajmil Fischman (Peru), Eduardo
Flores (Ecuador), Lidia Formiga de Tosco (Argentina), Martín Fumarola (Argentina),
Fernando García (Chile), Enrique Gerardi (Argentina), Magda González-Mora Alfonso
(Cuba), Norberto Griffa (Argentina), Adina Izarra (Venezuela), Alejandro Iglesias Rossi
(Argentina), Sofia Izurieta (Franz Liszt Coservatory, Ecuador), Bernarda Jorge (Dominican
Republic), Douglas Keisler (Computer Music Journal, U.S.A.), Daniel Kent (ex-Centris,
Canada), alcides lanza (Argentina), Doyun Lee (UNESCO), Jose Augusto Mannis (Brazil),
Ariel Martinez (Uruguay), Raúl Minsburg (Argentina), Ramiro Muñoz (Colombia),
Alejandra Odgers (Mexico), Mónica O’Reilly (Cuba), Joaquín Orellana (Guatemala), Carlos
Palombini (Brazil), Javier Parrado (Bolivia), Catalina Peralta (Colombia), Sylvia Perez-
Reinoso (Music and Dance Library, Faculty of Arts, University of Chile), Jacques Perron
(Daniel Langlois Foundation), Julián Pontón (Ecuador), Héctor Quintanar (Mexico), Manuel
Rocha (Mexico), Arturo Rodas (Ecuador), Ernesto Romeo (Argentina), Francisco Ruiz
(Guatemala), Arturo Ruiz del Pozo (Peru), María Rosa Salas (Peru), David Schidlowsky
(Chile), Federico Schumacher (Chile), Francis Schwartz (U.S.A.), Rodrigo Sigal (Mexico),
Conrado Silva (Uruguay), Luis Szarán (Paraguay), Aurelio Tello (Peru/Mexico), Ricardo
Teruel (Venezuela), Daniel Teruggi (Argentina), Barry Truax (Canada), Horacio Vaggione
(Argentina), Edgar Valcárcel (Peru), Carlos Vázquez (Puerto Rico), Fernando von
Reichenbach (Argentina), Inés Wickmann (Colombia), and all the colleagues and friends who
have been helping to develop my research and supported my work through the years.
vi
My gratitude to The Daniel Langlois Foundation for Art, Science and Technology. Thanks to
all its members for their confidence, help and friendship. Special thanks to Jean Gagnon,
Executive Director of the Foundation.
My gratitude also to the UNESCO Digi-Arts team. Thanks to Tereza Wagner, Deputy team
leader of the Digi-Arts project.
Special thanks to Miriam, who gave me the energy, love and time to be able to do this
research.
vii
TABLE OF CONTENTS
a. RÉSUMÉ EN FRANÇAIS ………………………………………………… ii

b. ACKNOWLEDGEMENTS ……………………………………………...... v
c. LIST OF FIGURES ………………………………………………………... xi
d. LIST OF TABLES …...…………….……………………………………… xiv
e. ABBREVIATION AND ACRONYM LIST ……………………………… xvii
f. SUMMARY ………………………………………………………………... xx
INTRODUCTION ……………………………………………………………. 1
CHAPTER I - LATIN AMERICA. ART, REALITY AND UTOPIA

1.1 Living without leaving ………………………………………………. 6
1.2 Motivation …………………………………………………………… 8
1.3 I don’t want to play the Dead-end road’s blues anymore ………… 11
CHAPTER II - METHODOLOGICAL APPROACH

2.1 Scope of the research ………………………………………………... 15
2.2 Limits of the research ………………………………………………... 15
2.3 Methodology ………..………..………..………..………..………..… 16
2.4 Ethics ………..………..………..………..………..………..………… 23
2.5 The theoretical framework ………..………..………..………..……... 25
2.6 Recordings archive and associated database ………..………..…….. 30
CHAPTER III - CONTEXT

3.1 Art and power ………..………..………..………..………………… 46
3.2 Economy overview ………..………..………..………..…………… 50
3.3 Culture, identity and information technologies ………..………..… 57
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CHAPTER IV - THE CONVERGENCE OF ART, SCIENCE AND NEW

TECHNOLOGIES
4.1 New technologies, new techniques, new music ……………………... 60
4.2 Walking down the south. First steps in Latin America ……………... 63
4.3 Influences in Latin American electroacoustic music ……………….. 65
CHAPTER V - 50 YEARS OF MUSIC AND NEW MEDIA IN LATIN

AMERICA
5.1 Introduction ………..………..………..………..…………………….. 68
5.2 Argentina ………..………..………..………..……………..………… 70
5.3 Bolivia ………..………..………..………..……………..………..….. 78
5.4 Brazil ………..………..………..………..…………………………… 79
5.5 Chile ………..………..………..………..……………………………. 82
5.6 Colombia ………..………..………..………..……………………….. 84
5.7 Costa Rica ………..………..………..………..……………………… 86
5.8 Cuba ………..………..………..………..……………………………. 87
5.9 Dominican Republic ………..………..………..………..…………… 88
5.10 Ecuador ………..………..………..………..……………..………..… 88
5.11 El Salvador ………..………..………..………..……………..………. 90
5.12 Guatemala ………..………..………..………..……………………… 90
5.13 Mexico………..………..………..………..……………..……………. 90
5.14 Panama ………..………..………..………..……………..………..…. 93
5.15 Paraguay ………..………..………..………..………………………... 93
5.16 Peru ………..………..………..………..…………………………….. 94
5.17 Puerto Rico ………..………..………..………..……………………... 95
5.18 Uruguay ………..………..………..………..……………..………….. 96
5.19 Venezuela ………..………..………..………..……………..……….. 99
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CHAPTER VI - COMPOSERS AND THEIR MUSIC

6.1 Introduction ………..………..………..………..…………………….. 102
6.2 Argentina ………..………..………..………..……………..………… 103
6.3 Bolivia ………..………..………..………..……………..………..….. 173
6.4 Brazil ………..………..………..………..…………………………… 178
6.5 Chile ………..………..………..………..……………………………. 203
6.6 Colombia ………..………..………..………..……………………….. 218
6.7 Costa Rica ………..………..………..………..……………………… 233
6.8 Cuba ………..………..………..………..……………………………. 234
6.9 Dominican Republic ………..………..………..………..…………… 246
6.10 Ecuador ………..………..………..………..……………..………..… 248
6.11 El Salvador ………..………..………..………..……………..………. 258
6.12 Guatemala ………..………..………..………..……………………… 259
6.13 Mexico………..………..………..………..……………..……………. 264
6.14 Panama ………..………..………..………..……………..………..…. 283
6.15 Paraguay ………..………..………..………..………………………... 285
6.16 Peru ………..………..………..………..…………………………….. 286
6.17 Puerto Rico ………..………..………..………..……………………... 292
6.18 Uruguay ………..………..………..………..……………..………….. 296
6.19 Venezuela ………..………..………..………..……………..……….. 304
CHAPTER VII - TRENDS IN MUSIC COMPOSITION INVOLVING

ELECTROACOUSTIC MEDIA
7.1 Styles ………..………..………..………..…………………………… 316
7.2 Score examples ………..………..………..………..………………… 318
CHAPTER VIII - MUSIC-RELATED TECHNOLOGY AND SCIENCE

RESEARCH
8.1 Technology innovators. Early developments ………..………..…………. 337
8.2 Recent research ………..………..………..………..……………………... 346
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CHAPTER IX - CONCLUSIONS
9.1 Conclusions ………..………..………..………..…………………….. 363
9.2 Future steps ………..………..………..………..…………………….. 365
LATIN AMERICAN ELECTROACOUSTIC MUSIC COLLECTION …. 368
BIBLIOGRAPHY
Books ………..………..………..………..……………..………..………..…... 445
Thesis ………..………..………..………..……………..………..………..….. 448
Articles, papers and reports ………..………..………..………..……………. 448
Webliography ………..………..………..………..…………………………… 451
APPENDIX A: LIST OF INTERVIEWS ………..………..………..……….. 455

APPENDIX B: ECONOMY OVERVIEW ………..………..………..……… 457
APPENDIX C: GLOSSARY ………..………..………..………..…………… 462
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LIST OF FIGURES
Figure Page
Figure 1. Research context and basic relationships. 17
Figure 2. Database entry form (sample page) including fields for: 32

composition title, year(s) of creation, production studio, instrumentation,
version, movements or cue parts, duration, recording provenance and
original format, database coding, composer’s name, register’s creation
date and last modification, among other information.

composition title, program notes in English, French and Spanish,
composer’s name, among other information.

composition title, composer’s name, year and place of birth, place of
career, biographical notes in English and French, among other
information.
Figure 5. Selection of 30 pieces from the Latin American Electroacoustic 40

Music Collection available for listening through the Daniel Langlois
Foundation’s web site.
Figure 6. One of the sonograms available at the Latin American 41

Electroacoustic Music Collection. It corresponds to César Bolaños piece
for guitar and tape: Interpolaciones, composed in 1966.
Figure 7. Economic power relationships with art, innovation and 47

technology.
Figure 8. Virgilio Tosco’s Complejo No.2 for recorders, piano, percussion 318
and electronically generated white noise, composed in 1965.
Figure 9. Manuel Enriquez’s Móvil II or Viols for violin and tape, 321
composed 1969-1972. Explanation of score’ symbols.
Figure 10. Manuel Enriquez’s Móvil II or Viols for violin and tape. 322
Graphic score.
Figure 11. Edgar Valcárcel’s Flor de Sancayo for piano and tape, 323
composed in 1976. Score: page 1.
xii
Figure 12. Edgar Valcárcel’s Flor de Sancayo for piano and tape. Score: 324
page 2.
page 3.
page 4.
Figure 15. Alfredo del Mónaco’s Alternancias for violin, viola, cello, 327
piano and electronic sounds on tape, composed in 1971. Explanation of
score’ symbols.
paino and electronic sounds on tape. Score’s excerpt: page 1.
Figure 20. César Bolaños’ Canción sin palabras (ESEPCO-II) for piano 332
and tape, collaboration with Mauricio Milchberg, composed in 1970.
Score’s excerpt: initial minutes.
Figure 21. Milton Estevez’s Apuntes con Refrán for orchestra and tape, 334
composed in 1987. Score’s excerpt: page 4.
Figure 22. Milton Estevez’s Apuntes con Refrán for orchestra and tape. 335
Score’s excerpt: page 6.
Figure 23. Analog synthesizer developed by Raúl Pavón during the early 339
60s in Mexico.
Figure 24. The first electronic music lab in Mexico, opened in 1970. 340
Figure 25. Cover of the book La Electrónica en la Música … y en el Arte 341

by Raúl Pavón.
Figure 26. The Electronic Music Lab at CLAEM during the late 60s, after 342
Fernando von Reichenbach redesign it.
xiii
Figure 27. The Analog Graphic Converter developed by Fernando von 342
Reichenbach during the ‘60s.
Figure 28. Sonogram of Analogías Paraboloides by Pedro Caryevschi, a 344

1970 tape piece created using the Analog Graphic Converter developed
by von Reichenbach. (excerpt analyzed from minute 2:00 to 3:00).
xiv
LIST OF TABLES
Tables Page
Table1. Ethnographic research characteristics vs. personal experience and 21

expertise in the studied field.
Table 2. Number of composers who have music in the archive of the 38

Daniel Langlois Foundation, and associated country (i.e. where the
composers were born or pursued a portion of their professional careers).
Table 3. Number of compositions archived at the Daniel Langlois 39

Foundation, and associated country (i.e. where their composers were born
or pursued a portion of their professional careers).
Table 4. Monthly statistics: November 2004, first month online. 43
Table 5. Monthly statistics: December 2004, second month online. 43
Table 6. Monthly statistics: January 2005, third month online. 44
Table 7. Monthly statistics: February 2005, fourth month online. 44
Table 8. Monthly statistics: March 2005, fifth month online. 45
Table 9. Gross domestic product per capita in 25 countries, including 18 51

from Latin America, ranking the amounts in descending order from the
highest to the lowest.
Table 10. Population below the poverty line in 25 countries, including 18 53

from Latin America; percentages shown in descending order from lowest
to highest.
Table 11. Population and number of Internet users in the whole world, the 55
European Union and 25 selected countries, including 18 from Latin
America.
Table 12. Musical compositions created by Argentinian composers 368

available for listening in the Latin American Electroacoustic Music
Collection.
xv
Table 13. Musical compositions created by Bolivian composers available 397

for listening in the Latin American Electroacoustic Music Collection.
Table 14. Musical compositions created by Brazilian composers available 398

Table 15. Musical compositions created by Chilean composers available 405

Table 16. Musical compositions created by Colombian composers 409

Collection.
Table 17. Musical compositions created by Costa Rican composers 413

Collection.
Table 18. Musical compositions created by Cuban composers available 414

Table 19. Musical compositions created by Dominican composers 420

Collection.
Table 20. Musical compositions created by Ecuadorian composers 421

Collection.
Table 21. Musical compositions created by Salvadoran composers 424

Collection.
Table 22. Musical compositions created by Guatemalan composers 425

Collection.
Table 23. Musical compositions created by Mexican composers available 426

Table 24. Musical compositions created by Panamanian composers 433

Collection.
Table 25. Musical compositions created by Paraguayan composers 433

Collection.
xvi
Table 26. Musical compositions created by Peruvian composers available 434

Table 27. Musical compositions created by Puerto Rican composers 437

Collection.
Table 28. Musical compositions created by Uruguayan composers 438

Collection.
Table 29. Musical compositions created by Venezuelan composers 441

Collection.
xvii
ACRONYMS
CCRMA: Center for Computer Research in Music and Acoustics, Stanford University,
United States.
CENIDIM: Centro Nacional de Investigación, Documentación e Información Musical Carlos

Chávez, Mexico City, Mexico.
CLAEM: Centro Latinoamericano de Altos Estudios Musicales, Instituto Torcuato Di Tella

(Latin American Higher Studies Musical Center, Torcuato Di Tella Institute), Buenos Aires,
Argentina.
CICMAT: Centro de Investigación en Comunicación Masiva, Arte y Tecnología (Center for

Research in Mass Communication, Art and Technology), Buenos Aires.
CR+D: Centre for Research and Documentation, The Daniel Langlois Foundation for Art,
Science, and Technology, Montreal, Canada.
DACP: Desarrollo Artístico Cultural Peruano, Lima, Peru.
DSP: digital signal processing.
FACM - UCA: Facultad de Artes y Ciencias Musicales - Universidad Católica Argentina.
DLF: The Daniel Langlois Foundation for Art, Science, and Technology
FM: frequency modulation.
GEMA: Gabinete de Electroacústica para la Música de Arte, Santiago, Chile.

xviii
GMEB: Groupe de musique expérimentale de Bourges, France.
GRM: Groupe de recherches musicales, Paris, France.
ICMC: International Computer Music Conference.
IMEB: Institut international de musique électroacoustique de Bourges.
INCIBA: Instituto Nacional de Cultura y Bellas Artes, Caracas, Venezuela.
IRCAM: Institut de Recherche et Coordination Acoustique/Musique.
LADIM: Laboratorio Digital de Música, Caracas, Venezuela.
LIEM: Laboratorio de Informática y Electrónica Musical, Centro de Arte Reina Sofia,

Madrid, Spain.
LIPM: Laboratorio de Investigación y Producción Musical, Buenos Aires, Argentina.
LP: long-playing phonograph record.
LNME: Laboratorio Nacional de Música Electroacústica, Havana, Cuba.
MOX: Advanced Computing Center, Los Andes University, Bogota.
n/d: no date available.
NICS: Núcleo Interdisciplinar de Comunicação Sonora, UNICAMP, Brazil.
RDF: Ricardo Dal Farra.

xix
UNESP: Universidade Estadual Paulista, Sao Paulo, Brazil.
VCO: voltage-controlled oscillator.

xx
SUMMARY
Latin American electroacoustic music has a long, interesting and prolific history, but it’s a
history that is little known even within the region itself. Many composers born or living in
Latin America have been very active in this field, in some countries as far back as some 50
years, but the availability of information and recordings of electroacoustic music in Latin
America has been a problem for educators, composers, performers, researchers, students and
the general public.
Considering that situation, I took the following question as a departure point for my thesis:
How has the tradition of musical creation using electroacoustic media developed in Latin
America? To answer that question I have been working with an historical approach using an
ethnographic methodology (characterized by a long-term immersion in the field, personal
contact with composers, and my involvement and concern with the evolution of the arts using
new technologies in Latin America) throughout my research.
Having started to work in the electroacoustic music field during the mid 70s in my native
country of Argentina, I found it very difficult to obtain information on related activities in
surrounding countries and even in my own city. Although challenging, it was nevertheless
possible to find recordings by composers living in Europe or North America, but it was very
difficult to locate any by local or regional composers.
In various Latin American countries, universities, state organizations and major private
foundations had taken initiatives from time to time to support art research and the use of new
media, but most had stopped short of developing the resources to document the processes and
preserve the results. Many early tape compositions had been lost or the master recordings
damaged, and there no longer existed scores or documentation on these. Fortunately,
however, a large number of recordings could still be saved. Tapes were stored in private
studios and composers’ houses, and many had been sleeping on shelves in institutions for
decades, with no action taken to conserve the works or provide access to the people.
Almost every recording and piece of information I have collected since the mid 70s were
obtained by searching for and contacting each composer directly. Over time, I began to build
a small but growing personal archive of concert programs, books, newsletters, magazines and
journals, scores, recording sleeves, letters, emails, as well as electroacoustic music recordings
on open reel tapes, analog cassettes and a few vinyl LPs. I decided not only to share this
music and related information with colleagues and students, but to explore other ways of
making it widely available.
A few years ago, the UNESCO commissioned me to research and write several reports about
electroacoustic music and media arts in Latin America. The texts produced as a consequence
of that research have been contributing to disseminate information on the work of many
Latin-American artists.
xxi
In order to provide the public with access also to musical works, while keeping safe the
material, I was searching for a place where the preservation of documents was not only
important but also possible. I felt that the Daniel Langlois Foundation for Art, Science, and
Technology in Montreal would be the ideal place to propose my project.
Two consecutive grants as Researcher in Residence at the Daniel Langlois Foundation

allowed me to work for some 28 months digitizing and/or converting from different formats,
editing and baking as needed, and filling the database of the Foundation with all of the
available information on the pieces involved. To date, January 2006, there are approximately
2,152 digital audio files archived2 at the Foundation’s Centre for Research and
Documentation (CR+D).
The collection of musical recordings now publicly available for listening and the
dissemination of my findings (texts, musical works, some historical scores and photographs,
and interviews) are results of my research and integral parts of the work I developed to fulfill
the requirements for my doctoral degree.
The music archive includes pieces for fixed media as well as mixed works for acoustic
instruments or voices and fixed media or live electronics/interactive systems (1,722
compositions). The archive also includes audio and audiovisual recordings of interviews with
composers and technical innovators as well as photographs, videos and a few rare scores.
Part of the text-based information contained in the music archive's audio files database is
available through the DLF Web site. Full information and all musical recordings are available
for consultation and listening at the CR+D. A short selection of pieces is also available for
listening through the Web site.
In most cases, the composers represented in this archive were born in Latin American
countries. There are also a few composers who, although not originally from the region,
pursued at least a portion of their musical career in Latin America.
This thesis contains information on composers associated with 18 Latin American countries:
Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Cuba, Dominican Republic,
Ecuador, El Salvador, Guatemala, Mexico, Panama, Paraguay, Peru, Puerto Rico, Uruguay
and Venezuela. The archive has recordings by composers from all of those countries.
Hopefully, this text will invite you to begin exploring the wonderful and largely unknown
world of music created by hundreds of Latin American composers over the past several
decades.
Keywords: electroacoustic music; Latin America; art and new technologies; ethics; memory;
culture; context; pioneerism; interdisciplinarity.
2
In the context of this doctoral thesis, archive refers to the place where an ordered group of
documents and information of special interest or value are guarded for preservation.
INTRODUCTION
This research is about music …
More than colours and forms, it is sounds and their arrangements that fashion
societies. (p. 6)
Attali, J. (1985). Noise: The Political Economy of Music. United States: University of
Minnesota Press.
… and its history.
Music is omnipresent in human society, but its language can no longer be regarded as
transcendent or universal. Like other art forms, music is produced and consumed
within complex economic, cultural, and political frameworks in different places and
at different historical moments.
Publisher comments on: Leyshon, A. , Revill, G. and Matless D. [editors] (1998).

The Place of Music. United States: The Guilford Press. http://www.powells.com/cgi-
bin/ biblio?show=Trade+Paper%3AUsed%3A157230314x%3A19.00&slnc=1
This research is about art, new technologies and Latin America3.
L'art […] latino-américain reste peu et mal connu. Il est pourtant aussi vaste et
complexe que les régions, pays et cultures qui le composent. L'Amérique latine est
ell-même un continent culturel qui dépasse le contour de ses frontières. (p. 15)
Sulic, Susana (2004). Sciences et technologies dans l'art contemporain en Argentine.

Le paysage abstrait. France: L'Harmattan.
This work is a journey in sound and words through Latin America’s electroacoustic music4
world.
3
The term Latin America is used to refer to all the American countries south of the United States
where Spanish and Portuguese are spoken [more details in Appendix D: Glossary]
4
I will be using the term electroacoustic music throughout this text to refer to: musical creations that
involve electronically modified or generated sounds, which may or may not be accompanied by live
2
The creation of music using electroacoustic technologies has been of great interest to
composers living in Latin American countries at least since the early 50s. However, there is a
significant lack of information in this respect, and little research has been conducted in this
area.
Latin America has been a fertile region for electroacoustic music creation, but most
compositions remain unknown except for a few initiated. The same situation applies to basic
information about these works and their composers.
Some pioneer5 composers have already died and many early compositions have been lost or
the originals (master tapes) damaged, but there is still a huge amount of information and there
are artistic works to be compiled, analyzed, documented and archived for preservation. Of
course, dissemination of the findings is equally important.
There are unacceptable difficulties for public access to this music and its related resources,
even on state-supported centers with hundreds or thousands of hours of musical recordings,
specialized libraries, and major human and technical resources. This situation should be
reversed, opening the “knowledge box” where part of our culture is hidden.
I believe specific actions need to be taken right now to unfold and keep safe at least part of
our memory.
voices or acoustic instruments, and that use a language close to the experimental and/or academic
world (adapted from a definition by Otto Luening in The Odyssey of an American Composer, New
York: Charles Scribner's Sons, 1980).
Experiment can be understood as the act of conducting a controlled test or investigation; the testing of
an idea; or a venture at something new or different. Academic, in this context, refers to an art that
conforms to the standards of a particular school, considering school a group of artists who have a
common style which may come from geography, movement, period or other attributes. [more details in
Appendix D: Glossary]
5
In the context of this doctoral thesis, a pioneer is considered someone who helps to open up a new
path or takes the lead or initiative in a new line of research or technology or art.
3
Keeping that memory alive, knowing what was done and preserving information and cultural
goods seems to be fundamental for every civilization.
The objective of my thesis emerges from this necessity, focusing on a work that can tell us
more about the whos, whats, whens and hows of musical creation with electroacoustic media
in Latin America.
Even if “electroacoustic music” does not appear explicitly in the title of my thesis, it is
implicitly there through the connection between the words: art, new technologies, sound and
electroacoustics. I decided to speak of “art and new technologies” rather than “music and new
technologies” considering that my research goes beyond music and its historical context,
exploring the roots of what we call today electronic arts or new media arts. Pioneering
activities centered in the electroacoustic music field are being considered today one of the
historical basis of media arts.
My research began more than 20 years ago collecting music recordings on vinyl, open reel6,
cassette, DAT, CD and other formats, as well as scores, articles, concert programs and related
references. The field research led me to explore the musical production and the historical
evolution of electroacoustic music in the region through interviews with the composers
themselves.
There is a story behind virtually every piece of information gathered, every recording
obtained, every date confirmed, and, without question, almost every email exchange or
telephone communication. It would astound readers to learn how long it took and how
difficult it was to obtain Juan Blanco’s early recordings from Cuba or to contact Joaquín
Orellana in Guatemala or César Bolaños in Peru. Today, they and many others are present in
this text and in the archive of electroacoustic music recordings I created at The Daniel
Langlois Foundation for Art, Science, and Technology.
6
Reel-to-reel or open reel tape recording refers to the form of magnetic tape audio recording in which
the recording medium is held on a reel, rather than being securely contained within a cassette [more
details in Appendix D: Glossary].
4
During my long research residence at the DLF while developing the archive, I had
unrestricted use of a phone line for international calls. This seemingly minor factor actually
allowed me to contact composers for whom I had been searching for many years and in some
cases decades. Only someone who has tried to contact a large group of people to research
activities that took place 40 or 50 years ago in Latin America can truly appreciate the
complexities involved.
I am delighted to having been able to contribute to keeping alive the work and thought of
these wonderful artists, for today and for the future. This text presents basic information
about hundreds of composers and thousands of pieces. The aforementioned archive has more
than 1,700 compositions that are freely available for listening at the Centre for Research and
Documentation (CR+D) of the Daniel Langlois Foundation in Montreal, and its
accompanying online database includes information about the pieces (e.g. over 140,000
words only for the program notes) and their composers. There is also part of this project
accessible to on the Internet: a historical introduction, the full list of compositions available
for listening in the CR+D, and a selection of pieces available for listening through the Web
site.
The work to develop the archive has been extensive: navigating through myriad technical
problems (recovering from massive hard disk crashes, finding tape recorders with old track-
formats, re-digitizing material to correct severe DC offsets in brand-new equipment, OS and
FireWire conflicts, etc.), defining the best way to work with very noisy old recordings, and
the list goes on. But this was nothing compared to the difficulties in obtaining the recordings,
contacting the composers and confirming the information I am including.
Together with the empiric research of collecting the electroacoustic music recordings, my
ethnographic approach through in-depth interviews with composers from Argentina, Bolivia,
Brazil, Chile, Dominican Republic, Mexico, Peru, Puerto Rico, Uruguay and Venezuela was
important in shaping my work. Recordings of all these interviews are also available at the
CR+D.
5
In summary, this thesis begins with an introduction to Latin America’s electroacoustic music
and the special relationship between the region and its artists - even for those who have been
living abroad for 40 or 50 years! (Chapter I). Next, I present the adopted research
methodology (Chapter II), basic information about the social and economic context (Chapter
III), and some early steps on the convergence among art, science and technology (Chapter
IV). The main body of my text presents the basic facts of the vast production of
electroacoustic music by composers from 18 Latin American countries (Chapter V and VI).
The diversity in compositional trends is also briefly discussed (Chapter VII), and there is a
full chapter on technological innovation and music-related scientific research (Chapter VIII).
Following the conclusions of my research (Chapter IX), some appendixes show the full list of
compositions available for listening as part of the Latin American Electroacoustic Music
Collection at the DLF, the scarce - and difficult to obtain - bibliography on the studied
subject, basic economic information on several Latin American countries, a glossary and
related information.
Together with this text, the Latin American Electroacoustic Music Collection at the DLF is
providing the music needed to understand these words, and even more important, it is
providing a way to preserve and disseminate part of that musical world.
I expect my thesis will contribute to the knowledge of electroacoustic music created by

composers born in (or closely related to) Latin America.
CHAPTER I
LATIN AMERICA. ART, REALITY AND UTOPIA
1.1 Living without leaving
In February 2005 I received a CD from composer Mesías Maiguashca with some of his early
compositions involving electronics. Maiguashca, who was born in Ecuador, has been living
in Germany for over 30 years. Opening the cover of the booklet coming with his CD I found
the following texts written by the composer:
… Coming from a ‘third world’ country I have been often asked about the role that
music should play in a society, about my duties as artist to my society. In my country
I have often been reproached for neglecting our ‘cultural values’ and for having
adopted European means of expression. My opinion: of course an individual has
rights and duties towards his group. His principal right is liberty: liberty to express
his individuality, liberty to live his individuality. His principal duty is truthfulness:
truthfulness to himself, truthfulness to his group, truthfulness in all his actions …
Maiguashca, M. (n/d). Mesías Maiguashca about Mesías Maiguashca on Übungen -

Ayayayayay - “moments musicaux” - Intensidad y Altura CD program notes.
Germany: Producciones Mañana.
Maiguashca, like many other well-known Latin American composers, found in Europe or
North America a place to develop his musical career. His works are performed around the
world and recordings of his music are commercially published and easily available. The
situation is the same, with some variations, for many other composers living out of their
mother country. He, like many of those composers, has a complex relationship with his native
Latin America, far and near at the same time.
7
… It is obvious that the relationship to my land and culture is and remains

problematic: on the one side I have a strong attachment to our things and people; on
the other side I have a GRUDGE against the order that has organized our society in
such and unjust categories …
… It seems now clear to me that my early desire to leave the country was not only
the natural curiosity to see the world but also the logical reaction to the feeling that I
had very little or no chance in my society …
Maiguashca, M. (n/d). Mesías Maiguashca about Mesías Maiguashca on Übungen -

Ayayayayay - “moments musicaux” - Intensidad y Altura CD program notes.
Germany: Producciones Mañana.
I find the same feeling of frustration and hopelessness in most artists living in Latin America
regarding their possibilities to make a living from their creations. Then, many of them
emigrate to Europe and North America looking for proper conditions to develop their art and
their careers. This has to do, of course, with supporting policies for artistic creation in these
countries, but also with the underlying attraction generated by the tradition of preservation,
documentation and dissemination of artworks, which shows a continuity path between past,
present and future.
In Latin America, in spite of the strong and rich artistic production, there are not many traces
of contemporary art practices during the last decades, at least regarding some fields like those
involving electronic technologies. Even today, when we have sophisticated computer tools to
access information, nothing can be done just with the new tools, without the information
itself. Preservation and documentation, hence memory, do not seem to be essential in most
countries, provoking in many artists a sensation of emptiness, of lacking history.
Many Latin American composers found themselves without a chance for their professional
development in their native land. Some were looking for the perfect place far away, in
Europe or North America, but Utopia7 was not there either, so a few came back after a while.
7
Utopia: an ideal and perfect place or state, where everyone lives in harmony and everything is for
the best. Infinite Futures (2003) Glossary: a brief list of key futures concepts. Address:
http://www.infinitefutures.com/resources/glossary.shtml.
8
1.2 Motivation
Latin America is a rich place in interdisciplinary artistic practices. Interesting activities have
been developed for several decades, even if most of them remain unknown because of the
context and diverse circumstances.
My interest for the arts on the crossroads with sciences and new technologies has lead me to
study and work today looking for a better understanding of my past and my roots. It has also
encouraged me to search so as to rediscover the multiple paths opened by artists working
with new technologies in their exploration of the musical world, in Latin America over the
last decades.
I see this process as a way to support the preservation of our collective memory, as well as a
stronger basis for my own experimental creative journey to produce new media art works.
Electroacoustic music joins artistic practice with advanced technological developments and,
many times, scientific research, too. It is part of what we nowadays call media arts. In fact,
electroacoustic music is a pioneer media art form.
Unavailability of musical recordings, bibliography and almost any basic reference to the
electroacoustic music activities that were developed since the early 50s in several Latin
American countries was commonplace when I started to work on the field several decades
ago, and that situation did not change much during the last decades.
Not many people seem to know that, during the early 40s, a Cuban composer developed on
the island the concept for an electronic musical instrument that was created some years later
and widely used: the Mellotron8. It is also often ignored that composers were experimenting
8
The Mellotron was an early electromechanical keyboard musical instrument which had a magnetic
tape player connected to each key, enabling it to play the pre-recorded sound assigned to that key when
the key was pressed. free-definition (undated). Mellotron - definition, meaning, explanation &
information in free-definition.com [online]. Address: http://www.free-definition.com/Mellotron.html
[more details in Appendix D: Glossary]
9
with (then new) electroacoustic technologies to compose their music during the 50s in
Argentina, Brazil and Chile; or that during the early 60s a Mexican engineer built an
electronic sound synthesizer9, a basic resource to produce electronic music; or that a major
new media center was active in Argentina for almost a decade during the 60s, serving as an
experimental hub for composers from all Latin America; or that hundreds of composers from
Latin America were producing thousands of electroacoustic music pieces.
Quoting myself from the CD Program Notes published in 2000 by Computer Music Journal:
For years the electroacoustic music that reached our ears here in the south arrived
mostly from recordings made in a few western countries of the northern hemisphere.
Just a few times we had the opportunity to listen to the music from the many
colleagues from our own environment. With time, however, I discovered here a rich
sound world where composers, even with difficulties to access the desired
technology, both in my country as well as in the rest of Latin America, were
producing an interesting body of musical works for tape, mixed media and live
electronics.
I began to wonder why it was so difficult to find electroacoustic music recordings

from my colleagues composers from Bolivia, Uruguay, Mexico, Brazil, Peru, Chile,
Venezuela, Cuba, Ecuador, Colombia or even Argentina itself. And what could be
done to help change the unidirectional flow of information and music into a
multidirectional exchange.
Dal Farra, R. (2000). CD Program Notes. Ricardo Dal Farra, Curator. Computer
Music Journal, vol. 23, no. 4, 121-130. United States: The MIT Press.
If there has been a significant number of compositions realized by Latin American composers
using electroacoustic media and contemporary musical languages; if there have been many
composers, as well as researchers and technical innovators involved with electronic means to
record, generate, and transform sounds to produce a new kind of music; if there have also
been labs and centers devoted to this field in different Latin American countries like
Argentina, Brazil, Chile, Colombia Cuba, Mexico, Uruguay and Venezuela, among others.
9
A synthesizer is an electronic musical instrument designed to produce artificially generated sound.
free-definition (undated). Synthesizer - definition, meaning, explanation & information in free-
definition.com [online] Address: http://www.free-definition.com/Synthesizer.html [more details in
Appendix D: Glossary]
10
Why was it so difficult to know about it? What happened with all the artistic production, the
research projects, the technical resources, the experience and the accumulated knowledge?
And if all of this is true, if ideas, concepts and knowledge are being lost, if a big part of our
memory regarding this field is disappearing, something has been happening that for me (and I
wish for many others, too) needs to be solved, at least, as far as we can and consider
worthwhile. I believe something must be done to remember, to preserve our memory, to learn
from our past, and to project from there our findings and creativity to the future.
With that in mind, consciously or unconsciously, I started to collect information and

recordings of electroacoustic music produced by Latin American composers many years ago.
At first it was probably my personal interest to know, learn and understand our regional
situation regarding the art works produced using new technologies and blurring traditional
borders with sciences. Then I started to play that music in my classes and lectures. And later I
found opportunities to introduce many compositions by Latin American colleagues in curated
concerts, radio series and even some CDs.
Quoting myself again, this time from A Southerner's Perspective published in 1996, also by
Computer Music Journal:
Surely state of the art in life does not exist, but after living where I am for so many
years, one knows there are some places (or “states”) that are much closer than others
to this situation.
Perhaps, and only perhaps, someday composing computer music in Latin America
won't be and adventure, and perhaps, and only perhaps, Latin America's music
won’t be exotic music anymore but just music.
Dal Farra, R. (1996). A Southerner's Perspective. Computer Music Journal, vol. 20,
no. 3, 36-37. United States: The MIT Press.
I think these precedent paragraphs depict at least part of the problematic that took me to work
on how the tradition of musical creation using electroacoustic media has developed in Latin
America.
11
That tradition or “practice of long standing" (according to the definition given by WordNet
1.6 dictionary, 1997, Princeton University) has been for me a mystery to be explored,
researched, unfolded. Many questions arose about it. Is the early electroacoustic music
production by Latin American composers being preserved and documented? And if not, how
could I help to do that?
My own work as a composer has always been closely related to new technologies. Since the
mid 70s I have been creating music for tape, mixed pieces for acoustic and electronic media
as well as live interactive works. I gather that my long professional experience has been very
important to accomplish this research, both because of my direct creative involvement in the
field and also because of my personal knowledge of the work by many colleague composers.
1.3 I don’t want to play the Dead-end road’s blues anymore
From musical theatre to multimedia performances, the musical world involving electronic
technologies in Latin America has been rich in creativity and ways of expression. Musical
scores by composers like César Bolaños and alcides lanza, among others, were already
including in the 60s the lighting and visual parts to be performed together, largely exceeding
the traditional boundaries of concert music notation. Mauricio Kagel broke many of those
established musical boundaries throughout his professional career, too. Media arts historical
research is slowly starting to recognize in the special relationship between music and
electroacoustic technologies a fundamental role in the development of new art forms. The
concept of the total artwork at the end of the nineteenth century evolved into myriads of
multimedia performance modalities in the twentieth century. It is interesting to see this in the
title of a well-known book about the history of art and technology: Multimedia: From
Wagner to Virtual Reality by Randall Packer and Ken Jordan (W. W. Norton & Company,
2001).
12
From music to media arts and back into the sound world, one key point to remember is the
development of audio recording technologies and how this changed the way to make and to
listen to music.
Music, mass communication and new economy trends found their way together making a big
world revolution, creating a powerful industry around music recording. For the first time
humanity was able to fix a moment in time and to retrieve at least part of it later.
Music is essential, a constituent to each culture. It identifies a group or society. It is also a

means of power, colonization and domination that the audio recording technologies have
been helping to develop. We all know the tremendous impact of those technologies in the
world, involving pleasure, politics, power and money.
The audio recording and the sprouting of the music industry as a worldwide scale business
have been defining the taste of hundreds of millions of listeners, conditioned by the iterative
broadcasting and recording distribution of a very limited set of musical expressions.
Concerning the recording industry, multiculturalism and diversity of styles and aesthetics are
extremely restricted and conditioned to the market’s laws. The diversity in terms of genres
and styles on the available recorded music is more apparent than real. More references about
it can be found in chapter III, section 3.3 Culture, identity and information technologies.
The turntable and audio recording technologies, mostly associated to radio production at first,
were not only the basis of a global revolution but also the trigger of major transformations in
our approach to music creation. Electroacoustic music was born from the explosive social,
political and economic changes that marked the turn of the nineteenth into the twentieth
century, combined with the aesthetic renovation and strong artistic transformations of that
period and the historical appearance of the electromechanical possibilities to fix sounds in
time. More references in chapter IV, section 4.1 New technologies, new techniques, new
music.
13
People coming from the music as well as the scientific and technological world met to
conceive this music, where knowledge, capabilities and skills from many different disciplines
are usually collaborating to develop interesting new paths for experimentation, research and
creation. This creative and experimental hub is always in advance of what the music market
consumes and does not receive support from the music industry.
Electroacoustic music is a field that joins creativity, technical expertise, new technological
development and scientific research, pushing the limits concerning the definition of music,
human perception, technological advancement and the interplay between art and science.
If the situation is difficult in countries with good economic resources and organizations
taking care of their heritage, it is extreme in regions like Latin America, with historical deep
economic and social problems and lack of funds to apply to the preservation and
dissemination of its own cultural richness and diversity.
The following paragraph, part of the text Electroacoustic Music Preservation: a

memorandum distributed by email in April 2005 by several major European institutions
interested in electroacoustic music preservation and dissemination clearly exposes the
problem:
Electroacoustic music is a major revolution of the twentieth century. It represents a

complete change in music, which brought new views on composition, musical
thought and musical practice. More than twenty thousand musical works have been
composed since the first experiences in the forties and, due to the fragile media on
which they were conceived, a real danger exists of losing this unique and original
artistic heritage. Within the next ten years, most of the analog media on which
electroacoustic music was composed on will be lost due to media decay or
technological obsolescence. The same situation exists with the first digital born
works, where some of the first works may not be accessible any more.
Documentation, preservation and distribution initiatives have to be engaged in order
to preserve for future generations this rich and unique heritage.
Teruggi, D. (2005). Electroacoustic Music Preservation: a memorandum. Email

subject: Electroacoustic Preservation Meeting. France.
14
Electroacoustic music has been developing for decades in Latin America without sustained
initiatives to preserve, document and disseminate the pieces composed. My present work is
trying to go a step forward in this direction, developing specific actions to support the
conservation and availability of that music.
CHAPTER II
METHODOLOGICAL APPROACH
2.1 Scope of the research
The scope of my research could be summarized in the following two items:
• Production of a comprehensive text about the development of musical creation using

electroacoustic media by Latin American composers.
• Production of a recordings archive including musical creations using electroacoustic

media by Latin American composers.
The dissemination of results has also been an important aspect of my work. Partial findings
of my research are available on the Internet, in a highly visited web site10.
2.2 Limits of the research
The study focuses on describing the musical production using electroacoustic media by Latin
American composers. It also approaches some economic, political, cultural and social aspects
of the Latin American context.
Latin America refers to the American countries south of the United States where Spanish and
10
http://www.fondation-langlois.org/flash/e/stage.php?NumPage=542 and
http://www.fondation-langlois.org/flash/f/stage.php?NumPage=542
16
Portuguese are spoken. The study is limited to: Argentina, Bolivia, Brazil, Chile, Colombia,
Costa Rica, Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Mexico, Panama,
Paraguay, Peru, Puerto Rico, Uruguay and Venezuela.
The time frame of my research runs from the mid 50s to 2004.
2.3 Methodology
My first steps in this research field started many years ago gathering recordings of musical
works created using electroacoustic media and searching information about them and their
composers.
I have been revising, expanding, organizing and analyzing all that accumulated material to
produce this text and the musical archive hosted at the DLF.
Concerning the main question of my research: How has the tradition11 of musical creation
using electroacoustic media developed in Latin America? I have been searching for historical
cues that could guide me through my work.
Multiple realities are involved at the macro (e.g. regional) and micro (e.g. local or even
personal) level in a research project like this. The socio-economic Latin American context,
and the local influences and personal experiences of my life in Argentina are aspects that
come together and find their place in this work.
The following graph shows an outline of my research.
11
Tradition: a style, technology or lifeway which persists for a long period of time within a given
region (Manitoba Heritage Network (2000) A Glossary of Manitoba Prehistoric Archaeology. Address:
http://www.umanitoba.ca/faculties/arts/anthropology/manarchnet/appendices/glossary.html).
17
GENERAL CONTEXT
LATIN AMERICA
COMPOSERS
ELECTROACOUSTIC MUSIC
Figure 1. Research context and basic relationships.
My research aims to unfold historical aspects of the musical creation using electroacoustic
media in Latin America. Taking into account that any historical approach is partial and is
marked with the researcher’s vision, I found in the post-positivist paradigm the adequate
path to follow, considering its implicit subjectivity.
About post-positivism, Frank Fischer wrote the following paragraph in Beyond Empiricism:
Policy Inquiry in Postpositivist Perspective, including references to 1990 Egon Guba’s The
Paradigm Dialog (United States: Sage) and 1978 Thomas McCarthy’s The Critical Theory of
Jürgen Habernas (United States: The MIT Press):
There is no standard definition of "postpositivism." Most fundamentally, it is

grounded in the idea that reality exists, but can never be fully understood or
explained, given both the multiplicity of causes and effects and the problem of social
meaning. Objectivity can serve as an ideal, but requires a critical community of
interpreters. Critical of empiricism, it emphasizes the social construction of theory
18
and concepts, and qualitative approaches the discovery of knowledge. (Egon Guba,
1990). McCarthy (1978) has defined the task of developing a postpositivist
methodology of social inquiry as figuring out how to combine the practice of political
and social theory with the methodological rigor of modern science.
Fischer, F. (1998). Beyond Empiricism: Policy Inquiry in Postpositivist Perspective.

Policy Studies Journal, vol. 26. no.1, 129-146. United Kingdom: Blackwell
Publishing.
Being transferability an important aspect also to be considered, I ponder upon the impact of
this research in readers coming from different contexts, perceiving and comparing my results
according to their own knowledge and environment. Composers and scholars from the
electroacoustic music field working in Latin America, composers and scholars from the same
field working in North America or Western Europe, composers and scholars interested in the
same field working in other regions of the world with limited access to technology,
composers and scholars interested in cross-cultural musical studies, readers interested in early
electroacoustic music instruments and related technologies, readers interested in early new
media creations, readers interested in Latin American ethnomusicological studies, and
readers interested in comparative art history are some people that could partially transfer the
results of this research to their own contexts.
Transferability is a process performed by readers of research. Readers note the

specifics of the research situation and compare them to the specifics of an
environment or situation with which they are familiar. If there are enough similarities
between the two situations, readers may be able to infer that the results of the
research would be the same or similar in their own situation. In other words, they
"transfer" the results of a study to another context. To do this effectively, readers
need to know as much as possible about the original research situation in order to
determine whether it is similar to their own. Therefore, researchers must supply a
highly detailed description of their research situation and methods.
Results of any type of research method can be applied to other situations, but
transferability is most relevant to qualitative research methods such as ethnography
and case studies. Reports based on these research methods are detailed and specific.
Colorado State University, Writing@CSU: Writing Guide (2004). Transferability:

Definition [online]. Address: http://writing.colostate.edu/
references/research/gentrans/com2c1.cfm
19
A constructivist approach seemed to fit well with an analysis based on interviews,

observations and different type of documents. In this specific work, those documents are both
in text and sound formats, and to be more precise, they include writings about the composers,
their context and their musical work, as well as electroacoustic music recordings.
I find the following definitions of constructivism pertinent for my approach:
A theory about knowledge and learning which asserts that learners construct their
own understanding of the world around them.
National School Reform Faculty, National Center (2003). Evolving Glossary of

NSRF Terms [online]. Address: http://www.nsrfharmony.org/glossary.html
Learning is what changes your current worldview. It builds on what you already
think you know.
Internet Time Group (2003). eGlossary [online]. Address:

http://www.internettime.com/itimegroup/eglossary.htm
A theory of learning and knowing that holds that learning is an active process of
knowledge construction in which learners build on prior knowledge and experience
to shape meaning and construct new knowledge. (Lambert & Walker, 1995.)
Equipped for the Future (2002). Glossary of Related Terms [online]. Address:
http://www.nifl.gov/lincs/collections/eff/eff_glossary.html
Approach that views knowledge as an active process of subjectively building a

system of meanings.
Moore, M. G. and Shattuck, K. (editors). (2001). Glossary of Distance Education

Terms. The Pennsylvania State University, World Campus [online]. Add.:
https://courses.worldcampus.psu.edu/public/faculty/DEGlossary.shtml
My perspective about the proposed subject for this research involves a long personal
experience, both as an artist and a researcher. This has given me the opportunity to approach
each studied item through a deep connection with the music and the electroacoustic
technologies concerned, as well as with the composers and the context.
20
I have found that multiple characteristics of the process of my research have a strong
correspondence with basic elements from the ethnographic methodology, which I have
adopted as a fundamental way to approach my work. The following two paragraphs about
ethnography are very close to my position regarding this research:
Ethnographic research comes from the discipline of social and cultural anthropology
where an ethnographer is required to spend a significant amount of time in the field.
Ethnographers immerse themselves in the lives of the people they study (in Lewis, I.
M. (1985). Social Anthropology in Perspective. United Kingdom: Cambridge
University Press: p. 380) and seek to place the phenomena studied in their social and
cultural context.
Myers, M. D. (section editor). (2004). Qualitative Research in Information Systems

[online]. Association for Information Systems. Address:
http://www.qual.auckland.ac.nz/
Ethnography is a long-term investigation of a group (often a culture) that is based on

immersion and, optimally, participation in that group. Ethnography provides a
detailed exploration of group activity and may include literature about and/or by the
group. It is an approach which employs multiple methodologies to arrive at a
theoretically comprehensive understanding of a group or culture.
Colorado State University, Writing@CSU: Writing Guide (2004). Ethnography

[online]. Address: http://writing.colostate.edu/references/research/observe/
com3a1.cfm
The following table shows some characteristics of the ethnographic research methodology in
relationship with my own experience and expertise in the electroacoustic and media arts field.
21
Table1. Ethnographic research characteristics vs. personal experience

and expertise in the studied field.
Ethnographic Personal experience and

research characteristics expertise in the studied field
• Long-term, prolonged immersion in the • Involvement with the electroacoustic and
field. media arts field for more than 25 years.
• Living in the studied region for about 45
years.
• Face-to-face interactions with the people • Personal contact with composers,
and the culture/tradition performers and researchers working on
observed/researched. the field.
• Concern with the nature and function of • Collection of relevant data for over 20
phenomena. years.
• Many different activities developed
around the studied subject.
• Experiential, empirical and qualitative • Direct involvement in several processes
research. of preservation, documentation and
dissemination of electroacoustic music
by Latin American composers.
• Experience creating electroacoustic
music in the same context.
• Framing within a specific context, place • Deep knowledge of place and context.
and time frame. • Contemporary with most of the time
frame under study.
22
• Recording of interviews and extensive • Making interviews about the studied

data collection. subject for more than 10 years.
• Extensive collection of text (program
notes, CVs, articles on journals and
newsletters, etc.) and sound data
(electroacoustic music recordings.)
• Use of native language. • Mother tongue: Spanish , verbal
language used in most of the studied
countries.
• Familiar with Portuguese, spoken in
Brazil.
• Deep knowledge of the artistic language
and related techniques used to create
electroacoustic music.
Taking into account the correspondence between my personal experience and the
characteristics of ethnography, I have found this methodology to provide the appropriate
framework for my research.
Everything has the potential to be data, but nothing becomes data without the
intervention of a researcher who takes note -and often makes note- of some things to
the exclusion of others. (pgs. 5-6)
With experience, most researchers become less compulsive about collecting data and
more proficient at using the data they collect. (pg. 10)
Wolcott, H. S. (1994). Transforming Qualitative Data. Description, Analysis and

Interpretation. United States: Sage Publications.
To summarize, I have been working with a historical approach using an ethnographic

methodology throughout my research.
23
Though vast and complex, the initial collect of recordings was characterized by an empirical
process. With those recordings I have developed the core of the Latin American
Electroacoustic Music Collection, hosted at the Daniel Langlois Foundation for Art, Science,
and Technology in Montreal. I have filled its accompanying database including information
about the music and its composers. All that music is now fully available for listening and the
online database open for consultation at the Foundation, using its Intranet. The recordings
archive as well as the information included in the database (more than 200,000 words) have
been through a long process of research, identification, and classification.
To improve the dissemination of the results of my research, a selection of pieces is also

available for listening on the Internet as well as part of the information contained in the
aforementioned database.
The body of my text has been produced thanks to my long-term immersion in the field, my
personal contact with composers and performers, the possibility to share the same native
language with most of them, and my involvement and concern with the evolution of the arts
and new technologies in Latin America. This text is the product of a long work characterized
by an ethnographic methodology of research.
2.4 Ethics 12
Ethical considerations are of major importance to me in this work, not only to interview or
undertake the analysis of the collected data, but in general to approach the subject and unfold
at least part of its lost or hidden history.
I expect to contribute to the knowledge of the electroacoustic music created by composers

born in (or related with) Latin America, and I have been accomplishing this task with
12
Ethics: a system of moral principles, rules or standards governing the appropriate conduct for an
individual or group (adapted from Nonprofit Hub.com, http://www.nonprofithub.com/ethics.htm).
24
honesty, searching the truth according to my beliefs, and respecting the confidence of my
colleagues.
Ethical issues should always be considered when undertaking data analysis. Because
the nature of qualitative observational research requires observation and interaction
with groups, it is understandable why certain ethical issues may arise. Miles and
Huberman (1994) list several issues that researchers should consider when analyzing
data. They caution researchers to be aware of these and other issues before, during,
and after the research had been conducted. Some of the issues involve the following:
• Informed consent (Do participants have full knowledge of what is involved?)

• Harm and risk (Can the study hurt participants?)
• Honesty and trust (Is the researcher being truthful in presenting data?)
• Privacy, confidentiality, and anonymity (Will the study intrude too much into
group behaviors?)
• Intervention and advocacy (What should researchers do if participants display
harmful or illegal behavior?)
Colorado State University, Writing@CSU: Writing Guide (2004). Ethical

Considerations in Ethnography, Observational Research, and Narrative Inquiry
[online]. Address: http://writing.colostate.edu/references/research/
observe/com2d4.cfm
I am also a composer working with electroacoustic media, therefore a colleague of the artists
I am interviewing or asking recordings of their pieces to. It is fundamental for me to reflect
my point of view taking much care of the approach each composer has regarding their own
work.
The consent from my colleagues has been given to me through the years, only exceptionally
in the written form (as it was the case when their music recordings or scores or photos or
interviews were uploaded to the Daniel Langlois Foundation web site), but it has always been
there, when composers were allowing me to record long personal interviews and submitted
their music with confidence, knowing about my long standing commitment towards the
recover and dissemination of part of our culture.
In some cases it was the families of composers that had already died that approved and sent
materials, being happy with the possibility to disseminate works and information. My
25
interviews, the data collection, and in general terms, all my research, has been possible
thanks to a trustful attitude and the confidence gained through many years of work in the
electroacoustic music field.
2.5 The theoretical framework
Walter Benjamin wrote in his Theses on the Philosophy of History:
To articulate the past historically does not mean to recognize it ‘the way it really was’
(Ranke). It means to seize hold of a memory as it flashes up at a moment of danger
[…] The danger affects both the content of the tradition and its receivers. The same
threat hangs over both: that of becoming a tool of the ruling classes.” (pg. 255)
Benjamin, W. [edited by Arendt, H.] (1969). Illuminations. United States: Schocken.
I find this statement by Benjamin close to the problematic I was facing, considering the
losses I was referring to before as one of the dangers, and the misuse of the present situation
by the establishment13, distorting the history of art and new technologies in the region, a
danger too.
About the relevance of the archival work, regarding history and its connection past-present-
future, I think these few lines from Tom Nesmith addresses that point in an interesting
manner:
Archival work is driven by an overriding historical imperative. Archivists exist as a

distinct profession to identify, protect, describe, make available, and preserve records
that have long-term value, as carriers of information from the past that is relevant to
the present and the future (pg. 5)
Nesmith, T. (2004). What’s History Got to Do With It?: Reconsidering the Place of
Historical Knowledge in Archival Work. Archivaria, no. 57, 1-27. Canada:
Association of Canadian Archivists.
13
In the context of this doctoral thesis, establishment refers to a group of people who hold power in a
society or social group and dominate its institutions (World English Dictionary-Microsoft, 1999).
26
Part of my work has been inspired in projects like the International Digital Electroacoustic
Music Archive (IDEAMA), co-founded by the Center for Arts and Media Technology
(ZKM) in Karlsruhe, Germany, and Stanford University's Center for Computer Research in
Music and Acoustics (CCRMA). IDEAMA was started in 1990 and ran for six years. It was
created to collect, preserve and disseminate historically significant electroacoustic music.
Around 570 works composed before 1970 were collected and processed to form the
IDEAMA target collection. From those, just a few ones were coming from Latin American
composers.
Besides both founding institutions, most of the partner organizations made the collection
publicly available: the Institut de Recherche et de Coordination Acoustique/Musique
(IRCAM), the Institut International de Musique Electroacoustique de Bourges (IMEB) and
the Institut Nationale de lÁudiovisuel / Groupe de Recherches Musicales (INA/GRM), all
three from France; the Instituut voor Psychoacustika en Elektronische Muziek (IPEM) from
Belgium; the Instituut voor Sonologie Koninklijk Conservatorium Den Haag from The
Netherlands; the National Center for Science Information Systems (NACSIS) from Japan; the
New York Public Library (NYPL) from the United States; the Polskie Radio - Contemporary
Music Department, from Polland; and the Stiftelsen Elektro-Akustisk Musik i Sverige (EMS)
from Sweden. All of the following affiliate institutions made that collection publicly
available, too: the Aalborg Universitet Institut for Musik og Musikterapi and the Danish
Institute for Electroacoustic Music (DIEM), both from Denmark; the Bibliothek der
Hochschule Musik und Theater, the Bibliothek der Musik Akademie der Stadt Basel, and the
Stiftung Haus der Klänge, Mädris-Vermol, all three from Switzerland; the Brandeis
University Library, the Library of Congress - Recorded Sound Collection, and the Michigan
State Universtiy School of Music, all three from the United States; the Centre For
Computational Musicology and Computer Music of University of Limerick, from Ireland; the
Institut für Computermusik und elektronische Medien (ICEM) der Folkwang-Hochschule
Essen, from Germany; the Institut für Elektronische Musik und Akustik (IEM) an der
Universität für Musik und darstellende Kunst Graz, from Austria; the Kungliga
Musikhögskolan Stockholm from Sweden; the NoTAM - Norsk nettverk for Teknologi,
27
Akustikk og Musikk, University of Oslo, from Norway; and the Walker Hill Art Center
Seoul, from Korea. Even if a few members of the IDEAMA project’s International Advisory
Board had been born in Latin America, no institution in this region made the collection
publicly available.
The IDEAMA project was also showing an alarm light: even with the involvement of several
major world recognized institutions, the recovering process was a very difficult task to carry
out, and economic resources were falling short.
If that project was so hard to develop, mine was like a utopia at the beginning, but dreams
come true sometimes … usually working very hard.
Together with electroacoustic music, Latin America, and art and new technologies, I
consider the following as keywords of my work:
o Ethics
o Memory
o Culture
o Contextualization14
o Pioneerism
o Interdisciplinarity
The development of musical creation with electroacoustic media in Latin America has
different attracting points to me. Taking Latin America as a whole in my study was a major
decision, where the adopted definition of culture was basic. In that sense, I found in David
Fetterman’s book Ethnography: Step by Step an approach close to my own perspective:
14
Context: everything - social, cultural, political, historical factors - that surrounds a particular event
or development of thought. These are the forces of influence at play when the event actually occurs.
Greater knowledge of the context of a thing leads to a deeper understanding of and more balanced
perspective on its nature (from American Studies, http://www.trincoll.edu/~tvogel/gloss.htm).
28
The most popular ideational definition of culture is the cognitive definition.

According to the cognitive approach, culture comprises the ideas, beliefs, and
knowledge that characterize a particular group of people. (pag. 27)
A cultural interpretation rest on a foundation of carefully collected ethnographic data.

Together with ethnographic methods and techniques, cultural interpretation and a
variety of other fundamental concepts shape what ethnography is - notably, a holistic
perspective, contextualization, and emic, etic, and nonjudgmental views of reality.
(pgs. 28-29)
Fetterman, D. M. (1998). Ethnography: Step by Step. United States: Sage

Publications, Applied Social Research Methods Series, vol. 17.
The relationship between knowledge and memory, not in its biological meaning but in its
historical one, is something that needs to be supported, is one of the foundations of a culture.
While musical works created using new technologies in Latin America during the past
decades were being lost, I became more and more concerned about it and decided to help to
preserve them.
In Latin America there are paradoxes, like in most other regions and cultures. One of those
paradoxes has been on my mind for a long time and that is the interest, the involvement, the
concern by many artists to work with new and expensive technologies in places where this
could be a luxury. Therefore, contextualization is fundamental in my research to generate the
guiding rules to understand the significance of this study. A simple and clear statement about
contextualization is presented again by Fetterman in his book Ethnography: Step by Step:
“Contextualization data involves placing observations into a larger perspective.” (pg. 29).
Those words by Fetterman are as simple as inspiring for me. The following chapter of this
thesis approaches some aspects of Latin America’s culture, economy, and sociopolitical
characteristics, for a better understanding of the research subject context.
Pioneerism is also in the roots of my research, recovering the work of many composers, in
some cases almost forgotten. Considering we can all learn from the actions of those that came
before us, pioneerism is a key point that runs all along my research.
Interdisciplinarity is another fundamental axis of my work. Electroacoustic music is in itself

29
an interdisciplinary field. Arts, sciences and new technologies find a fertile place there to
meet, to elaborate, to grow, to collaborate and to create.
The electroacoustic media, concepts and techniques related to music are also open to
interesting exchanges and integration with other art forms. A good example in this sense is
the MIDI standard, developed 20 years ago for music production, which later became the
basis for the richest methodologies to link resources and technologies behind different
temporal/spatial art forms (e.g. interactive installations).
Interdisciplinarity involves bringing together distinctive components of two or more

disciplines. In academic discourse, interdisciplinarity typically applies to four realms:
knowledge, research, education, and theory. Interdisciplinary knowledge involves
familiarity with distinctive components of two or more disciplines. Interdisciplinary
research combines distinctive components of two or more disciplines in the search or
creation of new knowledge, operational procedures, or artistic expressions.
Interdisciplinary education merges distinctive components of two or more disciplines
in a single program of instruction. Interdisciplinary theory takes interdisciplinary
knowledge, research, or education as its main objects of study. At any given
historical period, the interdisciplinary richness of any two exemplars of knowledge,
research, and education can be compared by weighing four variables: number of
disciplines, the "distance" between them, novelty, and integration.”
Nissani, M (1995). Fruits, Salads, and Smoothies: A Working Definition of

Interdisciplinarity. Journal of Educational Thought, 29, 119-126. Canada: Faculty of
Education, The University of Calgary.
My approach to develop this research has considered the aforementioned keywords together
with aspects such as:
• The relationships between art, science and technology.

• The pioneerism and further development in art and new technologies in non-
supportive contexts.
• The ignorance we have about the achievements of our own culture.
• Memory, preservation and future.
30
2.6 Recordings archive and associated database
Almost every piece of information and recording I have gathered these years was obtained by
searching for and contacting each composer directly. In many cases the data collection was
made through personal contact. Email, letter or telephone communication with the composers
and technology innovators mentioned throughout this text was also used extensively. A lot of
data found in concert program notes, books, newsletters, newspapers and journals, scores,
recording sleeves and other documents was corroborated with the artist whenever it was
possible.
Communicational aspects have been a major issue during all this process, as many composers
and technology innovators have been extremely difficult to get through to. Most of the
pioneers are in their seventies or eighties, and composers are usually thinking of their next
works and not many of them take care of their past production.
The results of my research are contained in this text as well as in the database and the
materials archived at the DLF in Montreal.
Those materials include:
• A music archive with 1,722 recordings of works, created between 1956 and 2004
using electroacoustic media, by 380 Latin American composers.
• Additional reference material:

o Audiovisual recordings: 18 audiovisual (17 videos) and 2 audio interviews
with composers and technology innovators (more than 10 hours).
o Images: 12 scores and 17 record sleeves from analog LPs, mostly published
during the pioneer years (all materials were digitized).
The database created for this research includes the following information (when available)
about each of the pieces archived:
31
• Title of the work

• Composer’s name
• Year(s) of composition
• Recording duration
• Alternative titles
• Movements or parts of the piece
• Version
• Studio of production
• Instrumentation
• Program notes (in English, French and Spanish)
• Source who provided the recording
• Format of the original recording received
• Information about the composer
• ID code of the digital audio file
32
Figure 2. Database entry form (sample page) including fields for: composition title, year(s) of
creation, production studio, instrumentation, version, movements or cue parts, duration,
recording provenance and original format, database coding, composer’s name, register’s
creation date and last modification, among other information.
33
Figure 3. Database entry form (sample page) including fields for: composition title, program
notes in English, French and Spanish, composer’s name, among other information.
34
Figure 4. Database entry form (sample page) including fields for: composition title,
composer’s name, year and place of birth, place of career, biographical notes in English and
French, among other information.
It should be noted that not every audio file in the archive is a complete piece, as there are
cases where each movement of a composition is stored as a different file with its
corresponding individual information (according to the rules the composer used to store his
or her work). Then the archive has 2,152 digital files that correspond to the 1,722 works,
where 112 pieces from that list have a total of 542 independently recorded movements or cue
parts (that means 1,722 - 112 + 542 = 2,152).
From the 2,152 digital files, 2,141 are audio files with extension .aif and 11 are audio/video
files: 8 of them are .mov and 3 are .mp4.
35
Regarding the database, from the 1,722 compositions available:
• 1,685 are dated (only 37 pieces remain undated)

• 1,034 have their instrumentation indicated
• 496 have information about their production studio (name and place)
• 365 have program notes in English, 36 in French and 263 in Spanish. Over 140,000
words.
• 379 have some data of their version (if they are mixed pieces: performers; recording
place and date, etc.)
• 267 have extra research notes
• 81 have information about their copyright or the publishing house
• 1,295 have biographical information about their composers in English
(corresponding to 199 composers), and 132 works have biographical information
about their composers in French (corresponding to 3 composers). Over 47,000 words.
A significant number of compositions from the 60s and 70s have been archived as well as
many more from the 80s, 90s and recent years. Only a few pieces from the 50s were found
and included:
• 1956 - 1959: 4 works

• 1960 - 1969: 83 works
• 1970 - 1979: 161 works
• 1980 - 1989: 292 works
• 1990 - 1999: 747 works
• 2000 - 2004: 393 works
Except for a couple of multi-track works, the digital audio files were archived using the
following format: AIFF, stereo, 16 bits, 44.1 KHz.
36
The music archive includes pieces for fixed media (tape, DAT, CD or similar) as well as
mixed works for acoustic instruments or voices and fixed media or live electronics/interactive
systems. There are also some multimedia works. In the case of pieces for fixed media and
other sound sources (e.g. mixed works), full recordings as well as tape-only parts (i.e. cues on
fixed media) are preserved and catalogued.
The work has been extensive: navigating through a myriad of technical problems (recovering
from massive hard disk crashes, finding tape recorders with old track formats, re-digitizing
material to correct severe DC offsets in brand-new equipment, OS and FireWire conflicts,
etc.), defining how to work best with very noisy old recordings (a few pieces were processed
using an advanced de-noise system to moderate hiss, always preserving the original recording
and following the composer’s advice), working with three different computers and nine hard
disks to manage the audio and visual files, the database, and the large amount of information
and daily international communications, and the list goes on.
Part of the text-based information contained in the music archive's database is available
through the Daniel Langlois Foundation web site (http://www.fondation-langlois.org/
flash/e/stage.php?NumPage=542). A versatile search engine allows the user to explore the
data by title, composer and date, directly via Internet. The full database content is available
for consultation at the documentation center of the Foundation.
In most cases, the composers represented in this archive were born in Latin American
countries. There are also a few composers who, although not originally from the region,
pursued at least a portion of their musical career in Latin America. The same criterion was
adopted for the full text. The database contains information on composers associated with 18
Latin American countries: Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Cuba,
Dominican Republic, Ecuador, El Salvador, Guatemala, Mexico, Panama, Paraguay, Peru,
Puerto Rico, Uruguay and Venezuela. The text of the thesis includes chapters on those
countries, too.
37
The list of composers and compositions included in the archive as well as a number of
statistics, such as compositions by decade, compositions by country and composers by
country, are available on the Foundation's web site.
The following table shows the number of composers represented in the Latin American
Electroacoustic Music Collection, hosted at the Daniel Langlois Foundation, and their
associated country (i.e. where the composers were born or pursued a portion of their
professional careers).
38
Table 2. Number of composers who have music in the archive of the Daniel Langlois
Foundation, and associated country (i.e. where the composers were born or pursued a
portion of their professional careers).
Country Number of
composers
Argentina 143
Bolivia 11
Brazil 39
Chile 28
Colombia 24
Costa Rica 5
Cuba 20
Dominican Republic 3
Ecuador 8
El Salvador 1
Guatemala 6
Mexico 41
Panama 1
Paraguay 3
Peru 12
Puerto Rico 5
Uruguay 14
Venezuela 16
Total 380
The amazing production of electroacoustic music in Argentina finds some explanation in the
sustained activities held in that country since the 50s, the availability of technological
resources in centers created during the 60s, 70s and 80s, and the avidity of many composers
to explore new musical trends. More references: Chapter V section 5.2, and Chapter VI
section 6.2, Argentina.
39
The following table shows the number of compositions archived in the Latin American
Electroacoustic Music Collection, and their associated country.
Table 3. Number of compositions archived at the Daniel Langlois Foundation,

and associated country (i.e. where their composers were born or pursued
a portion of their professional careers).
Country Number of
compositions
Argentina 735
Bolivia 18
Brazil 166
Chile 99
Colombia 74
Costa Rica 16
Cuba 130
Dominican Republic 10
Ecuador 50
El Salvador 2
Guatemala 18
Mexico 158
Panama 1
Paraguay 9
Peru 67
Puerto Rico 17
Uruguay 87
Venezuela 65
Total 1722
40
A short selection of pieces is also available for listening through the web site. Several criteria
were used to define this selection, including dates of composition (ranging from the mid
1950s to 2004), geographic representation (15 countries), instrumentation (e.g. works for
fixed media, mixed pieces for acoustic instruments or voices and tape or live electronics),
techniques, etc.
Figure 5. Selection of 30 pieces from the Latin American Electroacoustic Music Collection
available for listening through the Daniel Langlois Foundation’s web site.
Each of the 30 pieces included in this selection could be listened to while seeing its
synchronized sonogram. All works have associated playback controls that allow the user to
play, stop, pause and go backward or forward at any moment.
41
Figure 6. One of the sonograms available in the Latin American Electroacoustic Music
Collection. It corresponds to César Bolaños piece for guitar and tape: Interpolaciones,
composed in 1966.
While the lowest visual part is showing the full sonogram for the whole piece, the upper part
shows sonograms corresponding to one minute of the piece, changing the image for each new
minute of sound. A moving bar over the sonogram image is accompanying the music,
allowing the listener to easily track the relationships between the perceived music and the
graph.
42
Part of the information in the archive has been made available online through the
Foundation’s web site since November 2004, including:
• Introductory text about the musical creation using electroaoustic media by Latin
American composers (Flash format to be read online and downloadable Acrobat PDF
format of texts written in English, French and Spanish).
• Limited access to the database (work titles; years of composition; composers’ names;
country associated to the composers).
• The 30 works available for listening on the web, each one with its associated
sonograms.
The high rate of international visits to the Foundation’s web site has been useful as a way to
receive the feedback from the composers, either to send corrections about their information
online or to send recordings to be included in the archive. In both cases, the results were
positive, as the number of recordings was increased and some problems were detected and
fixed.
A first approach to the initial impact of this part of the project could be seen through the
following statistics. They show the number of visits to different parts of the online project
and the number of downloads of the PDF texts.
43
Table 4. Monthly statistics: November 2004, first month online.
Page Visits
Latin American Electroacoustic Music Collection: main page 1126
Latin American Electroacoustic Music Collection: text (Flash format) 603
Latin American Electroacoustic Music Collection: 30 works online 412
Latin American Electroacoustic Music Collection: search engine 353
Text (PDF format) Downloads

Latin American Electroacoustic Music Collection: English version 29
Latin American Electroacoustic Music Collection: French version 60
Latin American Electroacoustic Music Collection: Spanish version 103
Table 5. Monthly statistics: December 2004, second month online.
Page Visits

44
Table 6. Monthly statistics: January 2005, third month online.
Page Visits

Table 7. Monthly statistics: February 2005, fourth month online.
Page Visits

45
Table 8. Monthly statistics: March 2005, fifth month online.
Page Visits

Latin American Electroacoustic Music Collection: English, French and 69
Spanish versions
The full collection of audio, visual and text materials is freely available for listening and
consultation at the Centre for Research and Documentation of The Daniel Langlois
Foundation for Art, Science, and Technology:
3530, Saint-Laurent Boulevard, Suite 402

Montreal (Quebec) H2X 2V1 Canada
e-mail: info@fondation-langlois.org
Internet: http://www.fondation-langlois.org/
CHAPTER III
CONTEXT
3.1 Art and power
The following lines from Some comments about electroacoustic music (and life) in Latin
America, an article I wrote in 1994 while living in Argentina, can give the reader a first
approach to one central situation related to my regional research about music and new
technologies:
For composers like myself who live and work in this region of the planet, it is often
very hard to know what is happening (musically and/or otherwise) in a neighboring
country, but it is comparatively easy to stay informed about music produced in North
America or Western Europe. I know this problem is pervasive in many areas of the
world, but I believe we need to do something about it. I wish and do appreciate to
have access to music from the “first world”, but I think Latin American composers
need to find the way to know each other too. The global village should not work only
for some people, knowledge should not travel only in one direction, and the
transmission of information should not be controlled by any single network in the
globe.
Dal Farra, R. (1994). Some comments about electroacoustic music (and life) in Latin
America. Leonardo Music Journal, vol. 4, 91-98. United States: The MIT Press.
Why do most of us know what has been going on in scientific research, technology
development or the arts, just in a few countries? And why do many people from the third
world know less about similar aspects in their own environments than from the evolving
situation in other countries, mostly from the so-called first world?
The history of the media arts seems to be linked in some way to the economic power that
supports it.
47
NEW MEDIA TECHNOLOGICAL

ARTS CREATIVITY
ECONOMIC
POWER
Figure 7. Economic power relationships with art, innovation and technology.
Who writes the history: who knows about it or who has the opportunity to do it? It is possible
to find many versions of the history of electroacoustic music but it is very strange to find a
reference to something coming from non first-world countries.
One of the authors that addressed the problematic of music and power in western culture is
Jacques Attali. In his striking and powerful book Noise: The Political Economy of Music he
wrote:
With noise is born disorder and its opposite: the World. With music is born power
and its opposite: subversion. In noise can be read the codes of life, the relations
among men. Clamor, Melody, Dissonance, Harmony; when it is fashioned by man
with specific tools, when it invades man’s time, when it becomes sound, noise is the
source of purpose and power, of the dream - Music.
All music, any organization of sounds is then a tool for the creation or consolidation
of a community, of a totality. It is what links a power center to its subjects, and thus,
more generally, it is an attribute of power in all of its forms. There, any theory of
power today must include a theory of the localization of noise and its endowment
with form.
Minnesota Press.
48
A milestone, this book about music, history and politics in the western hemisphere is a
controversial reading for all those who are interested in the social role and meaning of music
and its interrelationships with power. No doubt this book I read almost two decades ago was
triggering part of my concerns about the relationships between technology-based art forms,
culture and power. It is worth mentioning some excerpts from comments about Attali’s book,
as they are close to my own approach about music and its role reshaping societies, today
more than ever:
It can only revitalize discussion on the connections between political power,

ideology, and the role of music in the current cybernetic phase of capitalism's twilight
years. - Border/Lines
For Attali, music is not simply a reflection of culture, but a harbinger of change, an
anticipatory abstraction of the shape of things to come. The book's title refers
specifically to the reception of musics that sonically rival normative social orders.
Noise is Attali's metaphor for a broad, historical vanguardism, for the radical
soundscapes of the western continuum that express structurally the course of social
development. - Ethnomusicology
University of Minnesota Press (n/d). Noise: The Political Economy of Music [online].
Address: http://www.upress.umn.edu/Books/A/attali_noise.html
Even if western society has been considered a visual-based culture, and the mass media
explosion of the last decades seems to corroborate it, sound-based art and communication is
in the core of this society, too.
After many years of technological development we still use audio-only systems for
communication, leisure or information, but I cannot imagine we could come back to the silent
movies era. We can leave the television on while we are around, listening from time to time
and coming to see the images when we are really interested in but, again, I cannot imagine
watching its screen for hours turning on the sound just when we think something will interest
me.
49
Sounds or images? This is not a question for me. I am not talking of which is more relevant
here. I am proposing a revaluation of the role of sound in our societies. And music as a
sound-based art form, today reshaped and repackaged in thousands of forms through different
electronic technologies, is taking part in the definition of our future. The isolation state a
Walkman, Discman or any portable music player produces, even if a hundred people are
around, or the common attitudes thousands of music listeners adopt during a rock concert,
shows the power of sound and music. Links between music and power have been there for a
long time, and Attali explains that in his book, but the explosion of new technologies during
the twentieth century is taking those connections far beyond what our imagination can see
today.
The development of new technologies has been a central issue related to the evolution of
western society. And in some way, each step forward has also been a step backward.
The balance between arts, sciences and new technologies development has been a matter of
preoccupation in the northwestern world, as they represent and differentiate groups and their
relative power. Paraphrasing Attali, art is a tool for the creation or consolidation of a
community. Science is the approved western way to look for knowledge and understanding,
and technology the practical application of that knowledge to solve problems or to
accomplish our desires.
Electroacoustic music, as one expression of the nowadays called media arts, merges art,
science and new technologies in a way that was impossible to imagine before, except for a
few visionaries. Electroacoustic music was born in France, Germany and the United States,
heart of the northwestern society, but soon started also in other places (Canada, Japan, and
several Latin American and European countries) where the intellectual classes were tracking
all kinds of new developments.
In most cases electroacoustic music is the product of creative people interested in the
advancement of knowledge, but it cannot only be seen as an individual invention: it is the
product of historical, cultural and economic factors placed in a larger context, too.
50
In a more restricted sense, electroacoustic music by Latin American composers exposes a

similar preoccupation regarding our contemporary interests in merging art, science and new
technologies but in a rather different context than that of the northwestern countries. Unequal
opportunities and a strong economic division of classes has been characteristic in most Latin
American countries. Poverty and lack of education for the poorest class coexist with
European or North American education for the middle-high and high classes still today,
leaving a wide gap between them in several countries of the region. Numerous dictatorial
governments (e.g. Bolivia: 23 military governments since its independence; Colombia: 23; El
Salvador: 45; Guatemala: 28; Paraguay: 17; Peru: 31; Venezuela: 28) in some cases lasting
decades (e.g. Argentina: 1955-1958, 1963, 1966-1973 and 1976-1983; Brazil: 1964-1984;
Chile: 1973-1990; etc.), and mass murders are also part of the recent history. The applied
model of domination in the region has slowly been shifting from the direct violence of the
past years to a new combination based on economic factors.
In a general context characterized by strong social and economic differences, lack of support
for cultural activities, and very often, restricted individual liberties, musical creation based on
experimental uses of electroacoustic technologies was born in Latin America.
3.2 Economy overview
Following I am including some basic statistical information of the economic situation in

those Latin American countries considered for this research and in several northwestern
countries where pioneering electroacoustic music started decades ago (e.g. Canada, France,
Germany, Italy, Sweden, United Kingdom, United States).
The information and all the quotes in this section were gathered from the The World
Factbook 2004 prepared by the Central Intelligence Agency (CIA) of the United States. This
publication is in public domain and all its data can be freely copied
(http://www.cia.gov/cia/publications/factbook/index.html).
51
The first table shows the gross domestic product per capita (US dollars) in 25 countries,
including 18 from Latin America. Gross domestic product or GDP is “the value of all final
goods and services produced within a nation in a given year.” GDP - per capita is the
“purchasing power parity basis divided by population.” Countries were sorted in descending
order placing those with the highest GDP per capita on the top. The rank column at the left
shows their positions considering all the countries in the world.
Table 9. Gross domestic product per capita in 25 countries, including 18 from Latin America,
ranking the amounts in descending order from the highest to the lowest.
Rank Country GDP - per capita Date of Information

3 United States $37,800 2003
11 Canada $29,800 2003
19 United Kingdom $27,700 2003
20 France $27,600 2003
21 Germany $27,600 2003
24 Sweden $26,800 2003
25 Italy $26,700 2003
56 Puerto Rico $16,800 2003
64 Uruguay $14,500 2004
73 Argentina $11,200 2003
79 Chile $9,900 2003
82 Costa Rica $9,100 2003
84 Mexico $9,000 2003
92 Brazil $8,100 2004
106 Colombia $6,300 2003
108 Panama $6,300 2003
112 Dominican Republic $6,000 2003
122 Peru $5,100 2003
129 El Salvador $4,800 2003
130 Venezuela $4,800 2003
132 Paraguay $4,700 2003
136 Guatemala $4,100 2003
149 Ecuador $3,300 2003
153 Cuba $2,900 2003
162 Bolivia $2,600 2004
52
The table above shows a clear difference between the GDP - per capita amounts
corresponding to the first seven countries of the list and those corresponding to Latin
America. European and North American countries are ranked between positions 3 and 25,
while Latin American countries appear on positions 64 to 162. The only exception is Puerto
Rico, ranked in position 56, probably because of its special political and economic status in
relationship with the United States.
The next table shows the population below the poverty line in the same 25 countries.
“Definitions of poverty vary considerably among nations. For example, rich nations generally
employ more generous standards of poverty than poor nations.”
53
Table 10. Population below the poverty line in 25 countries, including 18 from Latin
America; percentages shown in descending order from lowest to highest.
Country Population below poverty line Date of Information

Sweden 6.4% 2002 (a)
France 6.5% 2000
Canada 10.3% 2002 (a)
United States 12% 2003
United Kingdom 17% 2002
Chile 20,6% 2000
Costa Rica 20,6% 2002
Uruguay 21% 2003
Brazil 22% 1998
Dominican Republic 25% NA
Paraguay 36% 2001
Panama 37% 1999
Mexico 40% 2003
Venezuela 47% 1998
Argentina 51.7% 2003
Peru 54% 2003
Colombia 55% 2001
El Salvador 58% 1999
Bolivia 64% 2004
Ecuador 65% 2003
Guatemala 75% 2002
Cuba NA
Germany NA
Italy NA
Puerto Rico NA
(a) Information from the Canadian Council on Social Development

(http://www.ccsd.ca/pubs/2002/olympic/indicators.htm)
NA = information not available
The table above shows again a very different situation between some European and North
American countries (between 6.4% and 17% of the population below the poverty line),
54
compared to most Latin American countries (between 20.6% and 75%).
The following table shows the population and the number of Internet users in the whole
world, the European Union, and the same 25 countries presented in the tables above.
“Population entry gives an estimate based on statistics from population censuses, vital
statistics registration systems, or sample surveys pertaining to the recent past.” The inclusion
of basic statistical information on “the number of users within a country that access the
Internet” is included to give a first approach to the access the population has to a certain level
of digital technology. It must be considered that “statistics vary from country to country and
may include users who access the Internet at least several times a week to those who access it
only once within a period of several months.”
55
Table 11. Population and number of Internet users in the whole world, the European Union
and 25 selected countries, including 18 from Latin America.
Date of
Rank by Information
population Country Population Internet Users (Internet)
1 World 6,372,797,742 604,111,719 July 2005 est.
4 European Union 456,285,839 206,032,067 Sept. 2004
5 United States 295,734,134 159,000,000 2002
7 Brazil 186,112,794 14,300,000 2002
13 Mexico 106,202,903 10,033,000 2002
16 Germany 82,431,390 39,000,000 2003
22 France 60,656,178 21,900,000 2003
23 United Kingdom 60,441,457 25,000,000 2002
25 Italy 58,103,033 18,500,000 2003
29 Colombia 42,954,279 2,732,200 2003
33 Argentina 39,537,943 4,100,000 2002
37 Canada 32,805,041 16,110,000 2002
41 Peru 27,925,628 2,850,000 2003
47 Venezuela 25,375,281 1,274,400 2002
62 Chile 15,980,912 3,575,000 2002
64 Guatemala 14,655,189 400,000 2002
67 Ecuador 13,363,593 569,700 2003
72 Cuba 11,346,670 120,000 2001
86 Sweden 9,001,774 5,125,000 2002
87 Dominican Rep. 8,950,034 500,000 2003
88 Bolivia 8,857,870 270,000 2002
100 El Salvador 6,704,932 550,000 2003
102 Paraguay 6,347,884 120,000 2003
124 Costa Rica 4,016,173 800,000 2002
126 Puerto Rico 3,916,632 600,000 2002
132 Uruguay 3,415,920 400,000 2002
134 Panama 3,039,150 120,000 2002
The table above shows again big differences between some European and North American
countries, and those from Latin America, as regards access to digital technologies of a certain
56
level of complexity. While the information about Canada, Germany, Sweden and the United
States shows a big part of their population has Internet access (roughly 50%), the ratio
changes drastically in Guatemala and Paraguay (roughly 2%), or even in “rich” countries like
Argentina, Mexico and Brazil (roughly 10%).
Appendix B presents an economy overview of the same 25 countries mentioned before, with
information gathered from the The World Factbook 2004 by the CIA. Following I am
including some excerpts from it:
Argentina benefits from rich natural resources, a highly literate population, an export-
oriented agricultural sector, and a diversified industrial base.
Possessing large and well-developed agricultural, mining, manufacturing, and service

sectors, Brazil's economy outweighs that of all other South American countries and is
expanding its presence in world markets.
Chile has a market-oriented economy characterized by a high level of foreign trade.
The Dominican Republic suffers from marked income inequality.
Ecuador has substantial petroleum resources, which have accounted for 40% of the
country's export earnings and one-fourth of public sector revenues in recent years.
Mexico has a free market economy with a mixture of modern and outmoded industry
and agriculture.
Peru's economy reflects its varied geography. Abundant mineral resources are found
in the mountainous areas.
Uruguay's well-to-do economy is characterized by an export-oriented agricultural

sector, a well-educated workforce, and high levels of social spending.
Central Intelligence Agency (2004). The World Factbook 2004. United States.
In summary, concerning the situation in most of the studied Latin American countries, we
find a lot of poor people in rich places. The distribution of income is highly unequal all
around the region and welfare does not work well or does not exist. Many countries in Latin
America have important natural resources, and even in places with a good rate of literate
population and highly educated people, the general situation and living standards are far from
57
good or stable. Unpredictability is always there, making mid and long-term planning a major
problem. In the south, colonization and external dependence is something a person can feel
and not only read about.
I believe those considerations are basic to comprehend the context of my research. Yes, my
work is primarily about art and creation and culture, but it is also about the unbalanced and
unequal situations that could and I think, must, change.
3.3 Culture, identity and information technologies
I mentioned above the richness, in terms of natural and human resources, available in many
places around Latin America, but the region is also very rich in terms of cultural heritage. A
trip through Bolivia, Mexico or Peru, for example, will immerse the visitor in a different time
dimension where ancient cultures and traditions live together with modern activities and new
technologies.
About music and cultural identity in Latin America, composer Coriún Aharonián wrote:
Los rasgos comunes de nuestras sociedades son a veces fáciles de enumerar: la miseria,
la dependencia colonial, la explotación. Otras veces son verdaderamente difíciles,
porque al poder no le interesa el conocimiento -y por tanto el estudio- de las cosas que
no sirvan específicamente para dominar.
Hay rasgos comunes de identidad cultural en Latinoamérica, labrados silenciosamente

durante milenios […] Hay específicamente rasgos comunes de identidad musical.
Musical en el sentido más amplio y extenso.
The common characteristics of our societies are sometimes easy to enumerate: misery,
colonial dependency, exploitation. Other times they are truly difficult because Power
has no interest in knowledge -and therefore the study- of those things that are not
specifically useful to dominate.
There are common characteristics of cultural identity in Latin America, worked quietly
during millenia [...] There are common characteristics of musical identity. Musical in
the widest and extensive sense. [RDF free translation]
58
Aharonián, C. (2001). El compositor y su entorno en Latinoamérica. Revista Musical

Chilena. [online] Address: http://www.scielo.cl/scielo.php?pid=S0716-
27902001019600006&script=sci_arttext
Concerning the present situation related to the cultural goods production in Latin America,
the asymmetrical relationships with other regions and countries in terms of income
generation are worth noticing.
Los riesgos están presentes: la concentración asimétrica en la producción cultural y la

generación de ingresos. Entre la Comunidad Europea, los EE.UU. y Japón se quedan
con el 87 % de las ganancias producidas por los bienes culturales y
comunicacionales, quedando el 13% restante a todos los otros países del mundo.
The risks are present: the asymmetrical concentration in the cultural production and
its income generation. The European Union, the United States and Japan get 87% of
the incomes produced by cultural and communicational goods, being left only 13% to
all other countries in the world. [RDF free translation]
García Canclini, N. (2002). Latinoamericanos buscando lugar en este siglo.

Argentina: Paidos.
The United States gets 55% of the global income in terms of cultural and communicational
goods, the European Union 25% and Latin America only 5%.
Esta globalización de las IC -y especialmente la aparición de operadores

audiovisuales de escala mundial- plantean un reto formidable para el desarrollo de las
identidades y de las culturas de los pueblos. Así, los mass media en particular, y las
llamadas industrias culturales en general, tienen una creciente centralidad en la
producción y circulación de los bienes simbólicos constitutivos de aquellas
categorías de percepción.
Aquí reside uno de los riesgos mas acuciantes: la homogeneización de la oferta
cultural en detrimento de la diversidad de contenidos y sentidos […] En los países de
nuestra región, […] cerca del 90% del flujo audiovisual que se consume tiene un
único origen: los Estados Unidos.
The Cultural Industries globalization -and especially today’s word-scale audiovisual

operators- raises a formidable challenge for regional identities and culture
development. Thus, mass media in particular, and cultural industries in general,
increasingly centralize the production and distribution of the symbolic goods that
constitute those categories of perception.
One of the main risks is then the homogenization of the cultural offer, damaging the
diversity of contents and senses. In the countries of our region […] nearly 90% of the
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consumed audiovisual materials has an only origin: the United States. [RDF free
translation]
Observatorio de Industrias Culturales de la Ciudad de Buenos Aires (2004)

Industrias Culturales en Argentina. Los años ’90 y el nuevo escenario post-
devaluación. Documento de trabajo Nº 1. [online] Address:
http://www.buenosaires.gov.ar/areas/cultura/observatorio/publicaciones.php
In this complex context of unidirectional cultural goods and related information flow,
electroacoustic music has been developing in Latin America.
Music as well as other art forms developed in Latin America mostly as a reflection of
European or North American models. Recognition and validation outside the region has not
been easy for those artists not following the “approved” models; in spite of that, many
composers have developed their own language and style, creating works characterized by the
use of reiterative elements, austerity, silence, and ideological awareness (see Aharonián, C.
[2000] An Approach to Compositional Trends in Latin America. Leonardo Music Journal,
vol. 10).
CHAPTER IV
THE CONVERGENCE OF ART, SCIENCE AND NEW TECHNOLOGIES
4.1 New technologies, new techniques, new music
Before the first electroacoustic music studios were created in France, Germany, Italy and the
United States around the 50s, early XX century works using turntables, radios and musical
instruments like the Theremin (or aetherophone) and the Ondes Martenot were paving the
way during decades. Of course, those new instruments as well as the renewed use of the old
ones came together with a renovation in musical language. Extremes were explored, from
total serialism to aleatorism.
Not only music, the arts in general were changing a lot during the first half of the past
century.
Other initiatives to join art with engineering and craftsmanship like Bauhaus were, and still
are, important antecedents, too. Interdisciplinarity was an idea that Bauhaus turned into
reality, as was the coincidence of art, science and new technologies in the electroacoustic
music field some years later.
Students at this new school were trained by both an artist and a master craftsman,
realizing the desires of Gropius to make "modern artists familiar with science and
economics".
Flores, G. (undated). bauhaus [online]. Address: http://people.ucsc.edu/~gflores/

bauhaus/history.html
61
Open-minded composers and inventors helped to build the transition from the 19th century
western music to the 20th century integration of new languages with experimental electronic
technologies.
Edgar Varèse had been already interested in the possibilities of electronic means to create
music for a long time when he composed Ecuatorial in 1934 for two fingerboard Theremins,
four trumpets, four trombones, piano, organ, percussion and bass singer; he later reassigned
the theremin parts to two ondes martenot. In 1954 he composed his mixed piece Déserts for
14 winds (two flutes, two clarinets, two horns, three trumpets, three trombones, bass tuba,
contra bass tuba), piano, percussion, and two magnetic tapes of electronic organized sounds.
And in 1958 he created the Poème Electronique, played through 450 speakers distributed
inside the Philips pavilion at the Brussels World Fair Exposition, together with light actions
and projected images.
John Cage composed Imaginary Landscape No. 1 in 1939 for 2 variable speed phono
turntables, frequency recordings, muted pianoforte and cymbal; Imaginary Landscape No. 4
(March No. 2) in 1951 for 12 radios, with 24 players and conductor; Williams Mix in 1952
for 8 single track or 4 double track tapes; and Fontana Mix in 1958, 17 minutes of material,
to be used in any time length, longer or shorter, for four single track or two double track tapes
(the score may also be used to provide a part or parts for any instrument or combination of
instruments).
There were many developments of electronic musical instruments in different parts of the
world before we arrived to the digital technologies and its capabilities to sample or synthesize
sounds as we know it today. To name just a few pioneer works, to the aforementioned
Theremin, developed by Lev Sergeivitch Termen (a.k.a. Leon Theremin) in Russia before the
20s, and the Ondes Martenot developed by Maurice Martenot in France a few years later, I
will add the Electronic Sackbut developed by Hugh Le Caine in Canada around the mid 40s,
considered today the first voltage-controlled sound synthesizer. Le Caine also developed
other instruments like the Special Purpose Tape Recorder (a.k.a. as Multi-track) in 1955 and
the Serial Sound Structure Generator in 1967. In the United States, Donald Buchla created
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the 100 Series Modular Electronic Music System in 1963 and Robert Moog his first Moog
synthesizer in 1964.
But a few years before these instruments were developed the situation to create music using
electroacoustic means was other. While Pierre Schaeffer in France was developing the
fundamentals of musique concrète during the late 40s, a group in Germany was approaching
music creation in a radically different way during the early 50s, opposing to the
experimentalism and perceptual analysis of natural sound sources a research to achieve a total
control over sound creation.
Schaeffer’s work was closely tied to the early decades of the radio in France. He was
appointed at Radiodiffusion Française in 1936, and at Studio d'Essai in 1942. In 1946
Schaeffer was invited to be part of Club d'Essai, which became the G.R.M.C. (Groupe de
recherche de musique concrete) in 1951 and the G.R.M. (Groupe de recherches musicales) in
1958). His experiences led him to compose the Etude aux chemins de fer and other well-
known studios in 1948. In Germany, following the lectures of Robert Beyer, and Werner
Meyer-Eppler about the musical possibilities of electronic sound generation, an Electronic
Music Studio directed by Herbert Eimert was established at Westdeutscher Rundfunk (WDR),
Cologne, in 1951. It was at this studio where Eimert composed Klang im unbegrenzten Raum
and Klangstudie II in 1952 and Glockenspiel in 1953, Karel Goeyvaerts created his
Komposition Nr. 5 in 1953, and Karlheinz Stockhausen composed the Study II in 1954,
Gesang der Jünglinge between 1955 and 1956, and Kontakte between 1959 and 1960.
In the United States, Vladimir Ussachevsky composed electroacoustic pieces like

Transposition and Reverberation in 1951, Sonic Contours in 1952, Incantation in 1953 and
Piece for Tape Recorder in 1956; Otto Luening composed Fantasy in space and Low Speed
in 1952. In 1959 the Columbia-Princeton Electronic Music Center was established in New
York, with Ussachevsky as its director and Luening, Milton Babbitt and Roger Sessions on
the committee of direction. Babbitt composed extensively using the synthesizer developed by
the RCA during the 50s: Vision and Prayer dated 1961, and Philomel dated 1964, are some
of those pieces.
63
In Italy, Luciano Berio and Bruno Maderna founded the Studio di Fonologia at Radio
Audizioni Italiane (RAI), Milano, in 1955. And in Canada, Hugh Le Caine collaborated to
establish a studio at the University of Toronto in 1959.
Not only in Europe and North America there was interest to develop electronic music around
the 50s. In 1955 was created a studio in Tokyo, Japan, at Radio Nippon Horo Kyokai.
Each laboratory had its own approach for sound and music creation, and their equipment was,
at least in part, different, too.
The development of electroacoustic music during the second half of the 20th century
represents a major result in the long process of convergence between art, science and new
technologies. The early decades of the 20th century were a turning point. New aesthetic
values and models, scientific theories, technologies and techniques were gradually meeting
with a new approach to listen, understand and create music, developing what is known as
4.2 Walking down the south. First steps in Latin America
Since the early 50s there were interest and some activities also in Latin America to develop
the little explored field of electroacoustic media applied to music creation. Mauricio Kagel
composed 8 studies between 1950 and 1953 and then used musique concrète created between
1953 and 1954 in one part of his sonorisation for an industrial exhibition in Mendoza,
Argentina. He attempted to create a studio in Buenos Aires during the 50s without success.
In Chile, Juan Amenabar and José Vicente Asuar were experimenting in 1956 at Radio
Chilena in Santiago. The same year León Schidlowsky composed Nacimiento, a tape piece
using concrète sound sources. In 1957, Amenabar, Asuar and a small group of composers
founded the Taller Experimental de Sonido (Experimental Sound Workshop) in Santiago at
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the Catholic University, but the initiative had a short life. Amenabar composed Los Peces for
tape in 1957, using recorded piano sounds arranged according to the Fibonacci series, and
Asuar composed between 1958 and 1959 Variaciones Espectrales using only electronic
sound sources.
In Brazil there were also pioneer activities during the 50s. Reginaldo Carvalho composed his
first concrète pieces on tape during 1956 in Rio de Janeiro, among them: Si bemol, Temática
and Troço I.
In Argentina, the Estudio de Fonología Musical was created at the University of Buenos
Aires by Francisco Kröpfl and Fausto Maranca at the end of 1958. Kröpfl composed his first
works using electronic sounds at that lab between 1959 and 1960: Ejercicio de texturas and
Ejercicio con Impulsos. During that same period César Franchisena was also experimenting
with electronic sound sources at the National University of Córdoba radio station and
composed Numancia, a ballet music for tape, in 1960. Horacio Vaggione also started to
experiment with electroacoustic techniques in Córdoba during those years, composing
Música Electrónica I for tape in 1960 and Ensayo sobre mezcla de sonidos, Ceremonia and
Cantata I in 1961. An electronic music lab was created in Buenos Aires during 1963 at
Centro Latinoamericano de Altos Estudios Musicales (CLAEM) of the Instituto Torcuato Di
Tella (Latin American Higher Studies Musical Center of the Torcuato Di Tella Institute).
In Cuba, Juan Blanco composed in 1961 Música para danza for tape, and Texturas, between
1963 and 1964, for orchestra and tape. Since then he composed around a hundred works
using electrocoustic media, including music for mass public events and large venues, like the
five-track 1968 tape piece Ambientación Sonora, played during 30 nights along La Rampa
Avenue in Havana. In the early 40s, the same composer designed an innovative
electroacoustical instrument similar in concept to the Mellotron, created years later.
In Mexico, Carlos Jiménez Mabarak composed a piece on tape in 1960: El paraíso de los
ahogados. The same year the engineer Raúl Pavón built a small electronic musical instrument
featuring an oscillator with multiple waveform outputs, a white noise generator, a variety of
65
filters, an envelope generator, and a keyboard, therefore one of the first electronic sound
synthesizers ever built.
The above is just a brief introduction to the vast electroacoustic music world, with its
richness and variety in terms of artistic creation, technology innovation and interdisciplinary
integration.
4.3 Influences in Latin American electroacoustic music
During the early years of experimentation with electroacoustic technologies applied to music
creation there were strong influences in Latin America coming from Europe. Some
composers were interested in the musique concrète originated in Paris (e.g. Juan Amenabar)
while others were interested in the elektronische musik coming from Cologne (e.g. José
Vicente Asuar).
When electronic music centers where developed also in the United States, the possibility to
access powerful technological resources attracted Latin American composers not only to
European centers (e.g. Edgardo Cantón, Beatriz Ferreyra), but also to places like the
Columbia-Princeton Electronic Music Center in New York (e.g. Mario Davidovsky, Alfredo
del Mónaco, alcides lanza, Edgar Valcárcel).
Many composers were traveling from different Latin American countries to study and/or
compose at studios in Europe since the 50s, and starting in the early 60s, also to the United
States. Some of them stayed there and others came back after a while. In one case or the other
they were an influence for the musical production of their Latin American colleagues. If they
stayed in Europe or the United States they were an influence: (a) because of the possibilities
for creation and dissemination of their work was acting as a model for composers far away
and without such facilities; (b) because their links with Latin America allowed a more fluid
communication for exchange of ideas and information of the latest trends in Europe and
North America; (c) because when visiting their native countries, the emigrant composers used
66
to lecture, teach workshops and perform both their own music and that composed by
colleagues who worked at the same centers they did; (d) because several of them became
directors or influential in different centers around the world (e.g. Davidovsky in the United
States, lanza in Canada, Maiguashca in Germany, Teruggi and Vaggione in France), making
it easier for composers living in Latin America to visit those labs for studying, composing,
teaching or researching.
Latin American composers were moving around a lot during the 60s. Enrique Belloc,
Eduardo Bértola, Edgardo Cantón, Beatriz Ferreyra, Enrique Gerardi and Luis María Serra,
all of them from Argentina, were studying and composing during the ‘60s at Groupe de
Recherches Musicales in Paris. Mario Davidovsky and alcides lanza, both from Argentina,
Alfredo del Mónaco from Venezuela and Edgar Valcárcel from Peru, were during the same
decade studying and composing at the Columbia-Princeton Electronic Music Center.
Mauricio Kagel moved from Argentina to Germany in 1957. Hilda Dianda, also from
Argentina, was composing in Italy at the Studio di Fonologia Musicale of RAI (Italian Radio
and TV) in Milano during 1959, and later in the United States at San Fernando Valley State
College in Northridge, California. Cuban composer Aurelio de la Vega founded that studio in
Northdrige in 1962 and was directing it until 1992. The Chilean composer José Vicente
Asuar was in Karlsruhe, Germany, around 1961, helping to organize an electroacoustic
studio. Composer Conrado Silva, from Uruguay, studied in Germany during the early 60s.
Horacio Vaggione, from Argentina, was first in the United States and then Spain during the
60s and early 70s, until he finally settled down in Paris.
Some of those composers are still living in Europe or the United States while others came
back to their native lands after a few months or years, but as it was said before, they were (or
still are) an influence for the musical production of their colleagues in Latin America.
The musique concrète coming from the GRM and the electronic works from the Columbia-
Princeton Electronic Music Center were clearly different during their pioneering years. The
compositional techniques and styles the first composers working at each place were applying
or developing, adapted to the available equipments, were influential models received by later
67
generations of composers arriving to those centers, among them, those coming from Latin
America.
CHAPTER IV
THE CONVERGENCE OF ART, SCIENCE AND NEW TECHNOLOGIES
4.1 New technologies, new techniques, new music
Before the first electroacoustic music studios were created in France, Germany, Italy and the
United States around the 50s, early XX century works using turntables, radios and musical
instruments like the Theremin (or aetherophone) and the Ondes Martenot were paving the
way during decades. Of course, those new instruments as well as the renewed use of the old
ones came together with a renovation in musical language. Extremes were explored, from
total serialism to aleatorism.
Not only music, the arts in general were changing a lot during the first half of the past
century.
Other initiatives to join art with engineering and craftsmanship like Bauhaus were, and still
are, important antecedents, too. Interdisciplinarity was an idea that Bauhaus turned into
reality, as was the coincidence of art, science and new technologies in the electroacoustic
music field some years later.
Students at this new school were trained by both an artist and a master craftsman,
realizing the desires of Gropius to make "modern artists familiar with science and
economics".
Flores, G. (undated). bauhaus [online]. Address: http://people.ucsc.edu/~gflores/

bauhaus/history.html
61
Open-minded composers and inventors helped to build the transition from the 19th century
western music to the 20th century integration of new languages with experimental electronic
technologies.
Edgar Varèse had been already interested in the possibilities of electronic means to create
music for a long time when he composed Ecuatorial in 1934 for two fingerboard Theremins,
four trumpets, four trombones, piano, organ, percussion and bass singer; he later reassigned
the theremin parts to two ondes martenot. In 1954 he composed his mixed piece Déserts for
14 winds (two flutes, two clarinets, two horns, three trumpets, three trombones, bass tuba,
contra bass tuba), piano, percussion, and two magnetic tapes of electronic organized sounds.
And in 1958 he created the Poème Electronique, played through 450 speakers distributed
inside the Philips pavilion at the Brussels World Fair Exposition, together with light actions
and projected images.
John Cage composed Imaginary Landscape No. 1 in 1939 for 2 variable speed phono
turntables, frequency recordings, muted pianoforte and cymbal; Imaginary Landscape No. 4
(March No. 2) in 1951 for 12 radios, with 24 players and conductor; Williams Mix in 1952
for 8 single track or 4 double track tapes; and Fontana Mix in 1958, 17 minutes of material,
to be used in any time length, longer or shorter, for four single track or two double track tapes
(the score may also be used to provide a part or parts for any instrument or combination of
instruments).
There were many developments of electronic musical instruments in different parts of the
world before we arrived to the digital technologies and its capabilities to sample or synthesize
sounds as we know it today. To name just a few pioneer works, to the aforementioned
Theremin, developed by Lev Sergeivitch Termen (a.k.a. Leon Theremin) in Russia before the
20s, and the Ondes Martenot developed by Maurice Martenot in France a few years later, I
will add the Electronic Sackbut developed by Hugh Le Caine in Canada around the mid 40s,
considered today the first voltage-controlled sound synthesizer. Le Caine also developed
other instruments like the Special Purpose Tape Recorder (a.k.a. as Multi-track) in 1955 and
the Serial Sound Structure Generator in 1967. In the United States, Donald Buchla created
62
the 100 Series Modular Electronic Music System in 1963 and Robert Moog his first Moog
But a few years before these instruments were developed the situation to create music using
electroacoustic means was other. While Pierre Schaeffer in France was developing the
fundamentals of musique concrète during the late 40s, a group in Germany was approaching
music creation in a radically different way during the early 50s, opposing to the
experimentalism and perceptual analysis of natural sound sources a research to achieve a total
control over sound creation.
Schaeffer’s work was closely tied to the early decades of the radio in France. He was
appointed at Radiodiffusion Française in 1936, and at Studio d'Essai in 1942. In 1946
Schaeffer was invited to be part of Club d'Essai, which became the G.R.M.C. (Groupe de
recherche de musique concrete) in 1951 and the G.R.M. (Groupe de recherches musicales) in
1958). His experiences led him to compose the Etude aux chemins de fer and other well-
known studios in 1948. In Germany, following the lectures of Robert Beyer, and Werner
Meyer-Eppler about the musical possibilities of electronic sound generation, an Electronic
Music Studio directed by Herbert Eimert was established at Westdeutscher Rundfunk (WDR),
Cologne, in 1951. It was at this studio where Eimert composed Klang im unbegrenzten Raum
and Klangstudie II in 1952 and Glockenspiel in 1953, Karel Goeyvaerts created his
Komposition Nr. 5 in 1953, and Karlheinz Stockhausen composed the Study II in 1954,
Gesang der Jünglinge between 1955 and 1956, and Kontakte between 1959 and 1960.
In the United States, Vladimir Ussachevsky composed electroacoustic pieces like

Transposition and Reverberation in 1951, Sonic Contours in 1952, Incantation in 1953 and
Piece for Tape Recorder in 1956; Otto Luening composed Fantasy in space and Low Speed
in 1952. In 1959 the Columbia-Princeton Electronic Music Center was established in New
York, with Ussachevsky as its director and Luening, Milton Babbitt and Roger Sessions on
the committee of direction. Babbitt composed extensively using the synthesizer developed by
the RCA during the 50s: Vision and Prayer dated 1961, and Philomel dated 1964, are some
of those pieces.
63
In Italy, Luciano Berio and Bruno Maderna founded the Studio di Fonologia at Radio
Audizioni Italiane (RAI), Milano, in 1955. And in Canada, Hugh Le Caine collaborated to
establish a studio at the University of Toronto in 1959.
Not only in Europe and North America there was interest to develop electronic music around
the 50s. In 1955 was created a studio in Tokyo, Japan, at Radio Nippon Horo Kyokai.
Each laboratory had its own approach for sound and music creation, and their equipment was,
at least in part, different, too.
The development of electroacoustic music during the second half of the 20th century
represents a major result in the long process of convergence between art, science and new
technologies. The early decades of the 20th century were a turning point. New aesthetic
values and models, scientific theories, technologies and techniques were gradually meeting
with a new approach to listen, understand and create music, developing what is known as
4.2 Walking down the south. First steps in Latin America
Since the early 50s there were interest and some activities also in Latin America to develop
the little explored field of electroacoustic media applied to music creation. Mauricio Kagel
composed 8 studies between 1950 and 1953 and then used musique concrète created between
1953 and 1954 in one part of his sonorisation for an industrial exhibition in Mendoza,
Argentina. He attempted to create a studio in Buenos Aires during the 50s without success.
In Chile, Juan Amenabar and José Vicente Asuar were experimenting in 1956 at Radio
Chilena in Santiago. The same year León Schidlowsky composed Nacimiento, a tape piece
using concrète sound sources. In 1957, Amenabar, Asuar and a small group of composers
founded the Taller Experimental de Sonido (Experimental Sound Workshop) in Santiago at
64
the Catholic University, but the initiative had a short life. Amenabar composed Los Peces for
tape in 1957, using recorded piano sounds arranged according to the Fibonacci series, and
Asuar composed between 1958 and 1959 Variaciones Espectrales using only electronic
sound sources.
In Brazil there were also pioneer activities during the 50s. Reginaldo Carvalho composed his
first concrète pieces on tape during 1956 in Rio de Janeiro, among them: Si bemol, Temática
and Troço I.
In Argentina, the Estudio de Fonología Musical was created at the University of Buenos
Aires by Francisco Kröpfl and Fausto Maranca at the end of 1958. Kröpfl composed his first
works using electronic sounds at that lab between 1959 and 1960: Ejercicio de texturas and
Ejercicio con Impulsos. During that same period César Franchisena was also experimenting
with electronic sound sources at the National University of Córdoba radio station and
composed Numancia, a ballet music for tape, in 1960. Horacio Vaggione also started to
experiment with electroacoustic techniques in Córdoba during those years, composing
Música Electrónica I for tape in 1960 and Ensayo sobre mezcla de sonidos, Ceremonia and
Cantata I in 1961. An electronic music lab was created in Buenos Aires during 1963 at
Centro Latinoamericano de Altos Estudios Musicales (CLAEM) of the Instituto Torcuato Di
Tella (Latin American Higher Studies Musical Center of the Torcuato Di Tella Institute).
In Cuba, Juan Blanco composed in 1961 Música para danza for tape, and Texturas, between
1963 and 1964, for orchestra and tape. Since then he composed around a hundred works
using electrocoustic media, including music for mass public events and large venues, like the
five-track 1968 tape piece Ambientación Sonora, played during 30 nights along La Rampa
Avenue in Havana. In the early 40s, the same composer designed an innovative
electroacoustical instrument similar in concept to the Mellotron, created years later.
In Mexico, Carlos Jiménez Mabarak composed a piece on tape in 1960: El paraíso de los
ahogados. The same year the engineer Raúl Pavón built a small electronic musical instrument
featuring an oscillator with multiple waveform outputs, a white noise generator, a variety of
65
filters, an envelope generator, and a keyboard, therefore one of the first electronic sound
synthesizers ever built.
The above is just a brief introduction to the vast electroacoustic music world, with its
richness and variety in terms of artistic creation, technology innovation and interdisciplinary
integration.
4.3 Influences in Latin American electroacoustic music
During the early years of experimentation with electroacoustic technologies applied to music
creation there were strong influences in Latin America coming from Europe. Some
composers were interested in the musique concrète originated in Paris (e.g. Juan Amenabar)
while others were interested in the elektronische musik coming from Cologne (e.g. José
Vicente Asuar).
When electronic music centers where developed also in the United States, the possibility to
access powerful technological resources attracted Latin American composers not only to
European centers (e.g. Edgardo Cantón, Beatriz Ferreyra), but also to places like the
Columbia-Princeton Electronic Music Center in New York (e.g. Mario Davidovsky, Alfredo
del Mónaco, alcides lanza, Edgar Valcárcel).
Many composers were traveling from different Latin American countries to study and/or
compose at studios in Europe since the 50s, and starting in the early 60s, also to the United
States. Some of them stayed there and others came back after a while. In one case or the other
they were an influence for the musical production of their Latin American colleagues. If they
stayed in Europe or the United States they were an influence: (a) because of the possibilities
for creation and dissemination of their work was acting as a model for composers far away
and without such facilities; (b) because their links with Latin America allowed a more fluid
communication for exchange of ideas and information of the latest trends in Europe and
North America; (c) because when visiting their native countries, the emigrant composers used
66
to lecture, teach workshops and perform both their own music and that composed by
colleagues who worked at the same centers they did; (d) because several of them became
directors or influential in different centers around the world (e.g. Davidovsky in the United
States, lanza in Canada, Maiguashca in Germany, Teruggi and Vaggione in France), making
it easier for composers living in Latin America to visit those labs for studying, composing,
teaching or researching.
Latin American composers were moving around a lot during the 60s. Enrique Belloc,
Eduardo Bértola, Edgardo Cantón, Beatriz Ferreyra, Enrique Gerardi and Luis María Serra,
all of them from Argentina, were studying and composing during the ‘60s at Groupe de
Recherches Musicales in Paris. Mario Davidovsky and alcides lanza, both from Argentina,
Alfredo del Mónaco from Venezuela and Edgar Valcárcel from Peru, were during the same
decade studying and composing at the Columbia-Princeton Electronic Music Center.
Mauricio Kagel moved from Argentina to Germany in 1957. Hilda Dianda, also from
Argentina, was composing in Italy at the Studio di Fonologia Musicale of RAI (Italian Radio
and TV) in Milano during 1959, and later in the United States at San Fernando Valley State
College in Northridge, California. Cuban composer Aurelio de la Vega founded that studio in
Northdrige in 1962 and was directing it until 1992. The Chilean composer José Vicente
Asuar was in Karlsruhe, Germany, around 1961, helping to organize an electroacoustic
studio. Composer Conrado Silva, from Uruguay, studied in Germany during the early 60s.
Horacio Vaggione, from Argentina, was first in the United States and then Spain during the
60s and early 70s, until he finally settled down in Paris.
Some of those composers are still living in Europe or the United States while others came
back to their native lands after a few months or years, but as it was said before, they were (or
still are) an influence for the musical production of their colleagues in Latin America.
The musique concrète coming from the GRM and the electronic works from the Columbia-
Princeton Electronic Music Center were clearly different during their pioneering years. The
compositional techniques and styles the first composers working at each place were applying
or developing, adapted to the available equipments, were influential models received by later
67
generations of composers arriving to those centers, among them, those coming from Latin
America.
CHAPTER V
50 YEARS OF MUSIC AND NEW MEDIA IN LATIN AMERICA
5.1 Introduction
This chapter, as well as the following one, aims to approach the electroacoustic music
production related to 18 Latin American countries: Argentina, Bolivia, Brazil, Chile,
Colombia, Costa Rica, Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala,
Mexico, Panama, Paraguay, Peru, Puerto Rico, Uruguay and Venezuela.
For each of those countries a historical introduction is presented in Chapter V whenever

significative activities were developed (e.g. Argentina, Brazil, Chile, Cuba, Mexico). Chapter
VI has extensive information about the composers that were born or pursued a portion of
their musical career there.
In most cases it was very difficult to collect the data, and it frequently happened that dates
and names varied from source to source. The information included was obtained from
personal communications and interviews, and also by analyzing letters, emails, concert
program notes, scores, recording sleeves and other documents. Sources and dates are
indicated whenever possible.
Appendix A lists a series of interviews whose recordings are also available at the Daniel
Langlois Foundation for researchers. Most of those interviews were held with pioneers of the
electroacoustic music field (e.g. César Bolaños, Alfredo del Mónaco, Héctor Quintanar,
Conrado Silva, Horacio Vaggione and Edgar Valcárcel, among others). Those composers
have been a source of valuable information not only for their own musical works but also for
multiple aspects of the development of electroacoustic music in several Latin American
69
countries. Those interviews have been a fundamental help to develop these two chapters, and
the information and references obtained are presented throughout it. Also relevant were
several hundreds of international phone calls I made to find and talk with composers I had
been trying to contact, in some cases, for years.
Concerning similarities and differences between the electroacoustic music development in

Latin America, as it was said in Chapter II, the amazing production of electroacoustic music
in Argentina finds some explanation in the sustained activities held in that country since the
50s, the availability of technological resources in centers created during the 60s, 70s and 80s,
and the avidity of many composers to explore new musical trends. Political and economic
instability, characteristics of the region, have been deeply affecting the development of most
countries. Support for artistic activities has usually been postponed to solve urgent social
problems. Anyway, it is possible to find a large production of electroacoustic music and
interesting activities related to this field in Brazil, Cuba and Mexico. In Chile there already
were pioneering works in the 50s but there was not a strong commitment by many composers
until a few years ago. In Colombia and Venezuela there also were pioneering activities during
the 60s but again not much happened until the 80s there.
Many times, composers from Peru and Ecuador found the opportunity to work with
electroacoustic media out of their native land, making the development in that area more
difficult for those countries until recently. Electroacoustic music started in Costa Rica not
many years ago, and in places like the Dominican Republic, El Salvador and Paraguay there
were only a few and sporadic activities.
Along the following pages, the diversity of Latin America is also shown through the
differences in the development of new art forms and technology innovation between each
country. But common factors are also amazing, like finding people that left the region
sometimes 30, 40 or more years ago to live in Europe or North America, and discovering
they still keep strong cultural ties with their native land. To name but a few, conversations
with Aurelio de la Vega and Orlando Jacinto García from Cuba (both in the United States for
over 40 years), alcides lanza from Argentina (in Canada for over 30 years), Tania León from
70
Cuba, Mesías Maiguashca from Ecuador (in Germany for over 30 years), and Horacio
Vaggione from Argentina (in France for over 30 years) made me realize how strong those
links are (see chapter I, section 1.1 Living without leaving).
5.2 Argentina
César Franchisena, Mauricio Kagel, and Francisco Kröpfl were some of the composers
experimenting15 with electroacoustic media since the 50s in Argentina. Tirso de Olazabal and
Rodolfo Arizaga were also making some experiences during those years.
Mauricio Kagel was working with electroacoustic media between 1950 and 1953 and used
recorded sounds and light projections in 1954 for his Música para la Torre installation. Tirso
de Olazábal was in Paris during the early 50s working with electroacoustic media, and
composed Estudio para percusión for tape in 1957. Rodolfo Arizaga composed Délires for
chamber orchestra, choir and Ondes Martenot between 1954 and 1957; Sonata Breve for
piano and Ondes Martenot, and El Organillo for solo Ondes Martenot, both in 1958.
The University of Córdoba and the University of Buenos Aires were the main centers of
activities at the beginning.
In 1958 Francisco Kröpfl with Fausto Maranca founded the Estudio de Fonología Musical at
the Universidad de Buenos Aires (University of Buenos Aires).
César Franchisena was experimenting during 1959 at Radio Universidad with electronic
devices and composed Numancia in 1960 at CIAL, Centro de Investigaciones Acústicas y
Luminotécnicas (Acoustic and Lighting Engineering Research Center) in the Universidad
Nacional de Córdoba (Cordoba’s National University).
15
In the context of this doctoral thesis, experimenting can be understood as the act of conducting a
controlled test or investigation; the testing of an idea; or a venture at something new or different.
[WordReference.com (n/d). [online] Address: http://www.wordreference.com/definition/experiment]
71
Francisco Kröpfl composed Ejercicio de texturas and Ejercicio con Impulsos using electronic
sounds at Estudio de Fonología Musical in Buenos Aires, both in 1960.
Horacio Vaggione composed in Córdoba Música Electrónica I for tape in 1960, and Ensayo
sobre mezcla de sonidos and Cantata I during 1961.
Those were the pioneering years of the electroacoustic music in Argentina.
Kagel, who left Argentina in 1957 and is living in Germany since then, composed Transición
I for electronic sounds in 1958 and Transición II for piano, percussion and 2 tape recorders in
1958-1959.
Hilda Dianda composed in Italy Dos estudios en oposición for tape during 1959; and Mario
Davidovsky realized at the Columbia-Princeton Electronic Music Center in New York the
Electronic Study No.1 in 1960 and Electronic Study No.2 in 1962, two pieces for tape.
In Buenos Aires, the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) of the
Instituto Torcuato Di Tella was a meeting point for students and composers from Latin
America. They had the opportunity to learn and exchange ideas with many of the most
interesting composers at that moment, many of them coming from Europe and North
America, as for example: Luigi Nono, Iannis Xenakis, Bruno Maderna, Aaron Copland,
Olivier Messiaen, Vladimir Ussachevsky and Luigi Dallapiccola, among others. The Center
was founded in 1962 and directed by the Argentinean composer Alberto Ginastera.
Following is the list of grant holders for CLAEM, according to their corresponding years.
While some of them were devoted to compose only for acoustic musical instruments or
voices, others were experimenting and composing also with electroacoustic media. Several of
the listed composers became later outstanding names of the electroacoustic music scene.
72
Scholarships 1963-1964
Blas Emilio Atehortúa (from Colombia)
Oscar Bazán (from Argentina)
César Bolaños (from Peru)
Armando Krieger (from Argentina)
Mario Kuri-Aldana (from Mexico)
alcides lanza (from Argentina)
Mesías Maiguashca (from Ecuador)
Marlos Nobre (from Brazil)
Miguel Angel Rondano (from Argentina)
Edgar Valcárcel (from Peru)
Marco Aurelio Venegas (from Colombia)
Alberto Villalpando (from Bolivia)
Rafael Aponte Ledée (from Puerto Rico)
Jorge Arandia Navarro (from Argentina)
Atiliano Auza León (from Bolivia)
Gabriel Brncic (from Chile)
Mariano Etkin (from Argentina)
Bernal Flores (from Costa Rica)
Benjamín Gutierrez Sáenz (from Costa Rica)
Miguel Letelier (from Chile)
Eduardo Mazzadi (from Argentina)
Graciela Paraskevaídis (from Argentina)
Enrique Rivera (from Chile)
Jorge Sarmientos (from Guatemala)
1965
Walter Ross (from United States - OAS scholarship)
César Bolaños (Centro de Experimentación Audiovisual - Instituto
Torcuato Di tella scholarship)
73
1966
Blas Emilio Atehortúa (OAS scholarship)
César Bolaños (OAS scholarship)
Florencio Pozadas (from Bolivia)
Marlene Migliari Fernándes (from Brazil)
Jacqueline Nova (from Colombia)
Iris Sangüesa (from Chile)
Joaquín Orellana (from Guatemala)
Oscar Cubillas (from Peru)
Luis Arias (from Argentina)
Mario Perusso (from Argentina)
Luis María Serra (from Argentina)
Regina Benavente (from Argentina)
1967
César Bolaños (OAS scholarship)
Blas Emilio Atehortúa (OAS scholarship)
Gabriel Brncic (OAS scholarship)
1968
Gabriel Brncic (OAS scholarship)
Jorge Antunes (from Brazil)
Alejandro Nuñez Allauca (from Peru)
Antonio Mastrogiovanni (from Uruguay)
Ariel Martinez (from Uruguay)
Coriún Aharonián (from Uruguay)
José Ramón Maranzano (from Argentina)
Eduardo Kusnir (from Argentina)
Pedro Caryevschi (from Argentina)
74
Luis Zubillaga (from Argentina)

Jorge Blarduni (from Argentina)
Bruno D’Astoli (from Argentina - Center for Inter-American Relations -
Fundación Di Tella)
Norman Dinerstein (from Argentina - Center for Inter-American Relations -
Fundación Di Tella)
Salvador Ranieri (from Argentina)
Diego Feinstein (from Argentina)
Rafael Aponte Ledée (OAS scholarship)
Beatriz Lockhart (from Uruguay - unregistered student)
León Biriotti (from Uruguay - unregistered student)
Not all the listed composers were at CLAEM during both of their two-year-long scholarships.
Venegas was there only during 1963 and Aharonián during 1969. Bernal Flores did not make
use of his scholarship.
Argentina was then a prolific place with many composers interested in using the new
electroacoustic technologies in their musical creations.
In Buenos Aires composers were working with electroacoustic media at commercial

recording studios, home labs, CLAEM and Estudio de Fonología Musical. Virtú Maragno
composed Composición No. 1 for voices, instruments and tape in 1962. Miguel Angel
Rondano composed La batalla de los ángeles, Promenade and Danza de los resortes during
1963. Armando Krieger composed Contrastes for two pianos and tape also in 1963 (tape part
realized by alcides lanza). Jorge Arandia Navarro created Forma Sonora de Ondina for
soprano, children´s choir, instrumental group and tape in 1964. Oscar Bazán composed
Simbiosis I for electric organ, percussion and tape in 1964. Kröpfl composed Ejercicio de
movimientos and Ejercicio con ruido coloreado in 1962, Diálogos I during 1964-1965 and
Diálogos II in 1965, all works for tape. Nelly Moretto composed her Composición 9b in
1966. Dated the same year is El Jardín de Angelo, a sonorisation by Maranca. Graciela
Paraskevaídis created Combinatoria II for piano, trombone, percussion and tape also in 1966
75
and Subliminal for piano and tape in 1967. Eduardo Tejeda composed Estudio Electrónico
No.1 in 1968. Pedro Caryevschi composed Analogias paraboloides in 1970 and Eduardo
Kusnir La Panadería, for tape, also on that year.
In Córdoba composers were working mainly at the National University and also at home with
their own rudimentary equipment. During the early 60s, Horacio Vaggione’s house was a
meeting place for a group of young experimentalists, which was the same group that later
created the Centro de Música Experimental (Experimental Music Center) at the University.
Carlos Ferpozzi composed La ciudad for tape in 1962. Vaggione composed Música
electroacústica II also in 1962, Ritual in 1963, Hierro y espacio II in 1964, all three for tape;
Salmo for tape, and the multimedia piece Untitled, for 4 instrumental groups, live
electroacoustic processing, movements and lights, both in 1965; Tres piezas electrónicas and
Cálimo II, both for tape, and Fausto for electronic sounds and orchestra, all three pieces in
1966; Suite para cinta magnética for tape and Electrata for live electronics, in 1967. Pedro
Echarte composed Estudio para la voz humana and Estudio II in 1964, Ray Conniff en Viet
Nam and Treno in 1965, Twist y Gritos: los Beatles in 1966, and Estudio Onírico para
Cronopio, all six pieces for tape. Oscar Bazán composed Simbiosis II for tape in 1965.
Graciela Castillo composed Diálogos for two voices, percussion, typewriters and radios in
1965; Concreción-65 bewteen 1965 and 1966; Estudio sobre mi voz, Estudio sobre mi voz II
and Tres estudios concretos in 1967, all three works for tape. Virgilio Tosco composed
Complejo No.2 for recorders, piano, percussion and white noise in 1965, Ectoplasma in 1966,
Homenaje a Poe in 1967 and Tres Movimientos para cinta magnetofónica in 1969, all of
them for tape.
Buenos Aires and Córdoba were not the only cities where musical activities with
electroacoustic media were developing those years in Argentina. Dante Grela composed his
early concrète pieces on tape during the 60s working at his private studio in Rosario,
province of Santa Fe. Some of his early electroacoustic pieces are: Música para el film ‘C-
65’, 1965; Música para una exposición de Pop-Art and Música para teatro, both 1966; and
Combinaciones for mixed choir, percussion and tape, 1968. Also dated 1968 is Ejercicio I for
tape, his first work using electronic sound sources, realized at the Estudio de Fonología
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Musical in Buenos Aires. In 1970 Grela composed Faena for voices, free chosen instruments,
tape and lights, and in 1972 Estudio for tape, produced also at his personal studio, as most of
the pieces he composed until today.
Several composers were studying and composing with electroacustic media abroad during
those years.
Edgardo Canton worked many years at the GRM studios in Paris. He composed among other
works: Animal Animal in 1962, Etude and Tout finit par tomber dans le même trou in 1963,
Voix Inouies in 1965, I palpiti and Pi-ouit in 1966, Manges par une espèce de Serpent in
1967, Une Espéce de Serpent in 1969, and A cheval vers la lune s'en va lagune in 1970.
Beatriz Ferreyra worked at the GRM with Pierre Schaeffer from 1963 to 1970 and was
participating in the production for the recording for Schaeffer’ Solfège de l’Objet Sonore.
Among the works she composed during those years are: Etude aux Itérations, electroacoustic
music, 1965; Toboggan, electroacoustic and instrumental music, 1966; Demeures
Aquatiques, 1967, Médisances, 1968 and L'Orvietan, 1970, all three pieces for tape, and
produced at the GRM studios. Ferreyra has been living in France since then.
alcides lanza went to New York in 1965 to study and work at the Columbia-Princeton
Electronic Music Center. lanza composed there his exercise I [1965-V] for tape in 1965,
plectros II [1966-I] for tape and piano in 1966, interferences I [1966-II] for two groups of
wind instruments and electronic sounds also in 1966, interferences II [1967-I] for percussion
ensemble and tape in 1967, ekphonesis II [1968-II] for voice, piano and tape in 1968 and
ekphonesis III [1969-II] for wind, keyboard, string instruments and tape in 1969, among
other works. He moved in 1971 to Canada, and has been living in Montreal since then.
Enrique Gerardi composed Música de Escena, musique concrète for theater, and
Divertimento for tape, both in 1967 while he was at the GRM in Paris. He returned then to
Argentina where he has been working as conductor, composer, teacher and music researcher.
During those early years Gerardi composed also Figura-Fondo, an aleatoric piece for electric
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guitar, piano, percussion, tape and painter in 1968, realizing the tape part at CLAEM, and
Sobre Texturas y Gestos for two flutes, two cellos, piano, tape and improvisation group,
producing the tape for this piece in his own studio at home.
Isabel Aretz, composed Birimbao for four timpanis and tape at Estudio de Fonología Musical
in Caracas, Venezuela, during the 60s.
Eduardo Bértola was living in Paris from 1968 to 1971, and then in Brasilia and Belo
Horizonte, Brazil, from 1975 until his death. While in Paris he composed Episode and
Penetraciones in 1969, Dynamus and Pexoa in 1970, and Penetraciones II in 1971, all works
for tape.
Coming back to Buenos Aires, when CLAEM and the Estudio de Fonología Musical declined
during the early 70s, the CICMAT, Centro de Investigación en Comunicación Masiva, Arte y
Tecnología (Center for Research in Mass Communication, Art and Technology) was
established. Supported by the Buenos Aires City Government, the Center was directed by
José Maranzano, Gerardo Gandini, Francisco Kröpfl, Fernando von Reichenbach and Gabriel
Brncic (from Chile; see that section). The CICMAT was active for some years during the 70s.
During the early 80s was created in Buenos Aires a new and big cultural center, Centro
Cultural Ciudad the Buenos Aires, later renamed Centro Cultural Recoleta. José Maranzano,
formerly at CICMAT, was appointed its director and was the engine behind the creation of a
new music lab there, with totally new equipments including multi, four and two tracks
professional tape recorders, high quality mixer and sound monitors, a Lexicon reverb unit,
Eventide’s Harmonizer, Sennheiser’s Vocoder and a Synclavier digital synthesizer, among
other instruments. Those were the beginnings of the studio known today as Laboratorio de
Investigación y Producción Musical (Musical Research and Production Lab) or LIPM.
Later Maranzano left the direction of the cultural center and also the active role he had in the
contemporary musical life of Buenos Aires for several years. Since then, Kröpfl has been in
charge of the electronic music studio there. The equipment from CLAEM that was
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transferred to CICMAT was moved to LIPM years later, where it was used for didactic and
compositional purposes for some time. A special mention should be made of the Analog
Graphic Converter, also known as Catalina, invented by Fernando von Reichenbach during
the Instituto Di Tella’s days. With that system, composers were able to write a graphic score
on a paper roll, being the images captured by a camera that transformed them into signals
adapted for musical uses in the analog laboratory.
Several electroacoustic music studios were created in Buenos Aires, Cordoba, Rosario, Santa
Fe and other cities around the country during the last decades, most of them close related to
state universities.
Today there are studios in several universities but also many private labs, mainly owned by
the composers themselves.
5.3 Bolivia
Bolivian composer Alberto Villalpando started his experiences with electroacoustic media in
the early 60s while he was studying in Buenos Aires. Together with Argentinian composer
Miguel Angel Rondano he created the music for a painting exhibition by Carlos Squirru in
1963, and another sonorisation, La Muerte, in 1964. Villalpando has been using
electroacoustic media in his music since then, and also promoting this means in Bolivia.
Also working in Buenos Aires, Florencio Pozadas composed his mixed piece for percussion
and tape, CM-Op.1, in 1968.
Atiliano Auza did some experimenting with Villalpando during the early ‘70s, processing
acoustic sounds with a Synthi analog synthesizer.
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During the 80s, Cergio Prudencio composed a piece for tape in La Paz, and Edgar Alandia
Canipa and Agustín Fernandez, both already living in Europe, created several works for tape
and acoustic instruments.
Since the early 90s the electroacoustic music scene have been much more active in Bolivia.
Sergio Claros Brasil, Oscar García, Jorge Ibañez, Javier Parrado, Juan Siles Hoyos, Nicolás
Suarez, Gerardo Yañez, and more recently Julio Cabezas, have been composing tape and
mixed pieces. There were concerts and music festivals programming those works, mainly in
La Paz. Two workshops on electroacoustic music were taught by Ricardo Dal Farra in La Paz
during 1990 and 1994 at the National Conservatory of Music and Puraduralubia, respectively.
5.4 Brazil
Reginaldo Carvalho and Jorge Antunes are two of the main names related to the pioneering
years of electroacoustic music in Brazil.
Reginaldo Carvalho composed between 1956 and 1959 his first concrète pieces on tape in
Rio de Janeiro. After some years in Brasilia, Carvalho returned to Rio de Janeiro where he
founded the Estudio de Musica Experimental, EME, producing there some new
electroacoustic works during the 60s. In 1967 Carvalho was appointed director of the
Conservatorio Nacional de Canto Orfeônico de Rio de Janeiro, name that he changed to
Instituto Villa-Lobos. This became an important center for studying and promoting new
music. Among other, Jorge Antunes and Marlene Fernandes were collaborating at the
Institute.
The first tape piece by Reginaldo Carvalho, Si bemol, 1956, is considered the first musique
concrète work realized in Brazil.
Jorge Antunes composed his first electroacoustic piece in 1961 working at his home studio
and has been very active working with these media since then. In 1962 he composed a piece
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using only electronic sound sources, Valsa Sideral, considered the first piece of this kind
realized in Brazil.
In 1967 Carvalho invited Antunes to teach at the aforementioned Instituto Villa-Lobos. Then
Antunes moved his home studio, the Estúdio Antunes de Pesquisas Cromo-Musicais, to the
Instituto and started to teach the first course focused on electroacoustic music in Brazil:
Curso de Musica Concreta, Eletrônica e Magnetofônica (Concrète, electronic and tape music
course).
Antunes also built several electronic music instruments and devices that he used on his early
pieces, as an electronic sawtooth wave generator, a spring reverberator, and two different
Theremins.
They were not the only Brazilian composers working with electroacoustic media in their
music. Willy Corrêa de Oliveira composed Experiences I: Cavaquinho, Experiences II:
Percussão, Experiences III: Gaita, and Experiences IV: Vozes, all pieces for tape, in 1959.
Rogério Duprat and Damiano Cozzella were experimenting on the possible applications of
computers in music, creating Música Experimental in 1963, a piece structured according to
computer calculations. Gilberto Mendes composed Nascemorre for mixed choir, two
typewriters and tape in 1963; and Santos Football Music for instruments (orchestra),
audience, dinner and 3 magnetic tapes in 1969. Clodomiro Caspary composed Estudos
Concretos I in 1966 and Estudos Concretos II in 1967, both works for piano and prepared
piano on tape. Claudio Santoro composed Aleatórios I, II, and III for tape (audiovisual
pieces) between 1966 and 1967. Marlene Fernandes composed Espectros Cromáticos in
Buenos Aires, Argentina, during 1967. Jocy de Oliveira composed Estoria II for female
voice, percussion and electroacoustic tape in 1967; and Polinterações for video, sculptures,
projections and electronics in 1970. Hans-Joachim Koellreutter composed Sunyata for flute,
orchestra and tape in 1968. Fernando Cerqueira composed Heterofonia do Tempo ou
Monólogo da Multidão for soloist voices, choir, orchestra and tape, also in 1968.
Lindembergue Cardoso composed Captações for voices, chamber orchestra, turntables and
radios in 1969.
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Composer Conrado Silva (born in Uruguay, 1940; see that section for references) is also one
of the pioneers that helped the development of electroaocustic music in Brazil, country where
he has been living since 1969. Silva founded several electronic music studios: at Brasilia
University in 1969; at Sao Paulo State University in 1977; and at Santa Marcelina Arts
School in 1985.
Brazil has a long tradition not only in music creation with electroacoustic media but also in
scientific research and technological developments focused on music composition and
performance.
In 1977 Aluízio Arcela presented his thesis Dynamic Spectra-Generating System for the
Synthesis of Musical Signals explaining a combined system of digital and analog
technologies for producing frequency spectra within the range of humanly audible
frequencies. His research started in 1975 at the Electrical Engineering Department of the
Pontifical Catholic University of Rio de Janeiro.
In 1983 Arcela was invited to join the Brasilia University and start a program in computing
there. He asked then to do also research in the field of computer music and to have a
laboratory. A short time later the Laboratório de Processamento Espectral (Spectral
Processing Lab) was born at that University.
In 1989 he created the Master in Computer Music at the University of Brasilia, the first
University-level computer music course in South America.
Three of the pioneers of electroacoustic music in Brazil: Jorge Antunes, Aluízio Arcela and
Conrado Silva, have been teaching at Brasilia University during the last years.
Brazil has today a prolific activity regarding musical composition using new media as well as
technological and scientific research related to that field. During the last decade is noticeable
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the activity developed by several Brazilian researchers, among them: Fernando Iazzetta,
Fábio Kon, Jônatas Manzolli, Eduardo ‘Reck’ Miranda and Marcelo M. Wanderley.
5.5 Chile
Several Chilean composers started their experiences using electroacoustic media in their
music during the mid 50s. Some of the first electroacoustic pieces composed in Latin
America were produced there.
Juan Amenabar and José Vicente Asuar are the main names related to the pioneer years of
electroacoustic music in Chile. Composers Gustavo Becerra-Schmidt, Samuel Claro,
Fernando García and León Schidlowsky were also closely related to the beginning of
electroacoustic music in Chile.
When Fernando García returned from his travel to Europe in 1953, he told Asuar about the
concrète musique by Pierre Schaeffer and Pierre Henry he had been listening to in Paris, and
the strong impressions this music caused on him. Then Asuar wrote to Pierre Boulez, who
visited Chile the following year. García remembers “… when he came, all we met with
Boulez so he could tell us what was happening in Europe”.
In 1956 León Schidlowsky composed Nacimiento for tape, using concrète sounds. During
that year, Amenabar and Asuar were experimenting with electroacoustic techniques at Radio
Chilena in Santiago.
In 1957 the Taller Experimental de Sonido (Experimental Sound Workshop) was established
at the Catholic University in Santiago by Amenabar and Asuar, together with a small group
of composers: León Schidlowsky, Juan Mesquida, Raúl Rivera, Abelardo Quinteros, Eduardo
Maturana and Fernando García. According to Samuel Claro, the official date when the Taller
started was May 15, 1957.
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Fernando García wrote about the Taller “It was created in 1957 and the idea was not to talk
about music and make academic concerts, it was to learn electronics’ mysteries […] Is true
that at the end of that year there was a concert with pieces by members of that group, but that
was only an aggregate.” (García, F. 2002. Personal communication). The Taller Experimental
de Sonido was active for around one year.
The Revista Musical Chilena (Chilean Music Journal) published in 1957 its first article on
electronic music: ¿Qué es la música electrónica? (What is electronic music?), written by
composer Gustavo Becerra-Schmidt
In 1957 Amenabar composed his first piece for tape: Los Peces, using recorded piano sounds
as the only material for his work, and Asuar proposed to write his civil engineering thesis
about Mechanic and Electronic Generation of Musical Sounds. In 1958 Asuar started to build
the first Electronic Music Studio of Chile at the Catholic University. There he composed
Variaciones Espectrales, probably the first piece composed in Latin America using only
electronic sound sources. The composition was premiered in 1959 at Teatro Antonio Varas,
in Santiago
Samuel Claro composed Estudio No. 1 for tape in 1960. He premiered his piece at the
Catholic University of Chile on June 8 of that year, during a concert with compositions by
Asuar, Badings, Berio, Henry, Schaeffer and Stockhausen.
Asuar and Amenabar were very active composing with electroacoustic media during the
following years. During the 60s Asuar spent some time in Karlsruhe, Germany, and later in
Caracas, Venezuela, helping to organize electronic music studios in both places. Back in
Santiago, he was commissioned in 1969 to create the Sound Technology career at the Arts
Faculty of the University of Chile. In the same Faculty, Amenabar was appointed
Coordinator of the Recording Studio in 1974.
Asuar started a personal project in 1978 building his own computer music studio. He
designed and built a musical instrument based on the Intel 8080 microprocessor: the
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Computador Musical Digital Analógico Asuar or COMDASUAR, composing several pieces

with it. Those works were published the following year on a disc: Así habla el computador
(Thus speaks the computer).
In 1991 Amenabar founded the Gabinete de Electroacústica para la Música de Arte, also
known as GEMA, at the Arts Faculty of the University of Chile. The studio is still active
today with composers Eduardo Cáceres, Rolando Cori and Mario Mora teaching their classes
there.
5.6 Colombia
Ensayo Electrónico composed by Fabio González Zuleta in 1965 is considered the first
electronic piece created in Colombia. It was produced using sinewave generators at the
studios of the National Radio of Bogota, with technical assistance by Guillermo Díaz.
Also dated 1965 is Blas Emilio Atehortúa’s Cantico delle creature, mixed piece for bass, two
choirs, winds, low strings, percussion and tape, realized also at the National Radio of Bogota.
Atehortúa composed in 1966 his first piece for tape, Syrigma I, realized in Buenos Aires at
CLAEM. During the same year León Simar composed Ahora vuelven a cantar, for a theatre
play, in Cali.
Jacqueline Nova was the most active and prolific Colombian composer working with
electroacoustic media during the 60s and 70s. She won a scholarship to study in Buenos
Aires at CLAEM during 1967 and 1968.
Jacqueline created many works using electroacoustic media, among others: Resonancias 1 for
piano and electronic sounds, and Oposición-fusión for electronic sounds on tape, both in
1968; LM-A 11 for tape, processed voices, strings and percussion in 1969; Pitecanthropus for
symphonic orchestra, voices and electronic sounds in 1971; and Creación de la tierra for
processed voice on tape in 1972.
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Between 1969 and 1970 David Feferbaum studied electronic music in London at the Royal
College of Music. At the Centre for Electronic Music at that College he composed Electronic
Study in Three Movements for tape, between 1970 and 1971. Later Feferbaum founded his
own Center for Electronic Music in Colombia, working in collaboration with Guillermo Díaz.
Mario Gómez-Vignes (born in Chile; moved to Colombia around 40 years ago) was working
with concrète sound sources during the early 70s in Bogota. Francisco Zumaqué (born in
Cerete, 1945) composed several pieces using electroacoustic media during the 70s, one of
those was Improvisación for woodwinds and tape dated 1972.
After several years without much activity on the field, electroacoustic media started to appear
in works by several Colombian composers around the late 80s. Ricardo Arias, Mauricio
Bejarano, Luis Boyra, Roberto García, Catalina Peralta and Juan Reyes, are some of those
composers.
Journalist and writer Carlos Barreiro-Ortiz (born in Tumaco, 1954) has been active
promoting electroacoustic music in Colombia since the 80s. He programmed many concerts
and radio series of new music in Bogota. He also founded the Asociación Colombiana de
Música Electroacústica (Colombian Association of Electroacoustic Music).
Composer Andrés Posada and software designer Camilo Rueda co-founded the Laboratorio
Colombiano de Música Electrónica Jacqueline Nova (Electronic Music Lab Jacqueline Nova)
in the Autonomous University of Manizales in 1989. Posada composed at that lab, Catenaria
for tape, between 1989-1990. The studio was active until 1992.
Rueda has been making significative contributions to the computer music field; one example
is PatchWork, the visual music composition language he helped to develop at IRCAM, in
Paris, France, during the early 90s.
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Mauricio Bejarano has created radiophonic artworks, sound installations and electroacoustic
music. He has an extensive catalog of works using electroacoustic media. Aparato I for tape,
1990, is one of his early pieces.
Many Colombian composers were studying electroacoustic music composition in Europe or

the United States. Catalina Peralta studied in Colombia and Austria, and is at present
Professor of Acoustic and Electroacoustic Composition at Los Andes University in Bogota.
She composed: Monólogo nr. 1 for magnetic tape, 1988; and Soliloquio del Retorno for
percussion and tape, 1996-1997.
Juan Reyes has been active in the field since the late 80s. He studied music and mathematics
in the United States. In Colombia, Reyes has been a professor of Music and Arts at Los
Andes University in Bogota, and has been working with people from the College of
Engineering at the same University, researching digital sound synthesis and signal
processing, physical modeling, spectral modeling, and expression modeling. El Paseo
Bolivar (Música por computador para el oyente desprevenido), a set of variations based on
popular Colombian themes, 1988; and Las Meninas for tape, 1991, are two examples of his
early works.
5.7 Costa Rica
Not many Costa Rican composers have been working with electroacoustic media in their
music.
Luis Diego Herra has been composing several works using electroacoustic means since the
early 80s. Alejandro Cardona also has been active composing electroacoustic pieces. Jorge
Luis Acevedo and Carlos Castro made some experiences too.
During the last years, Otto Castro has been very active composing and also promoting
electroacoustic music as well as other new media art forms.
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The group Autoperro has been working with electroacoustic media for over 20 years in Costa
Rica. Its musical founding members are: Fernando Arce, who performs analog and digital
synthesizers and acoustic sources, and Mauricio Ordóñez who performs acoustic and
processed concrète sounds.
5.8 Cuba
The main driving force behind the development of the electroacoustic music field in Cuba
has been Juan Blanco for over 40 years. He composed his first piece for tape in 1961 and
created around 100 works using electroacoustic media.
Before that, in 1942, Blanco registered the description and design of the Multiórgano, a
musical instrument based on 12 magnetophonic wire loops running through a playback head
that could be loaded with 12 chromatically recorded voices, musical instruments or other
sounds.
After the Revolution, Leo Brower and Juan Blanco were closely related to musical
experimentation and new media in Cuba. Composers Carlos Fariñas, Roberto Valera, Héctor
Angulo, Carlos Malcom and Calixto Alvarez were also active on new musical trends.
During the 70s Blanco attempted to establish an electronic music lab at the Instituto Superior
de Arte in Havana. In 1979 he was appointed director of a small studio at ICAP, the Instituto
Cubano de Amistad con los Pueblos. That studio became the Laboratorio Nacional de Música
Electroacústica or LNME in the early 90s, when the Ministry of Culture assumed the
responsibility of it.
The two main studios devoted to electroacoustic music creation are today: the
aforementioned Laboratorio Nacional de Música Electroacústica, and the Estudio de Música
Electroacústica y por Computadora, EMEC, at the Instituto Superior de Arte, ISA.
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In spite of the well-known difficulties the people in Cuba have been going through,
electroacoustic music creation has found a fertile field on the island for decades.
Many Cuban composers have worked with electroacoustic media in their music. To name but
a few: Sergio Barroso, Aurelio de la Vega, Carlos Fariñas and Orlando Jacinto García; and
from a younger generation: Irina Escalante, Mónica O’Reilly and Ileana Pérez.
Barroso, de la Vega, García and Pérez have realized most of their careers out of the island.
On the other hand, Fariñas was active composing and promoting electroacoustic music in
Cuba since the early 70s.
For the first time in Latin America, an International Computer Music Conference (ICMC)
was held in Havana during 2001.
5.9 Dominican Republic
Only a few Dominican composers have been using electroacoustic media in their music.
Ana Margarita Luna composed a mixed piece during the 90s. Dante Cucurullo has several
electroacoustic and mixed pieces in his catalog. The most active composer in terms of
electroacoustic music creation, performance and research has been Alejandro José, who
taught the first electronic music courses in the island during the early 80s.
5.10 Ecuador
Mesías Maiguashca is one of the historical names related to music and electroacoustics in
Ecuador. He was already using new media during the 60s, and although he has been
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developing his compositional activities outside Ecuador since then, he is still a big influence
among the contemporary music composers in that country.
According to Arturo Rodas, it was not until the 80s that composers living in Ecuador started
to work with electroacoustic music. He thinks this happened as a side effect to the new music
creation explosion that began during the second half of that decade.
During the early 80s Milton Estevez projected the Departamento de Investigación, Creación y
Difusión (Department for Research, Creation and Promotion), also known as DIC, at the
National Conservatory of Music of Quito. That project became real in 1985, and included an
electroacoustic music studio that started to work in 1986. Also part of the original DIC
project, the Ecuadorian Festival of Contemporary Music had its first edition in April 1987.
During that period there was a lot of activity around new music in Ecuador. Estevez, Rodas
and Diego Luzuriaga were lecturing and teaching new music workshops in different cities
around the country. Maiguashca became more involved with the musical life of Ecuador.
Rodas published the music journal Opus around the end of the 80s.
From a younger generation, composers Jorge Campos, Juan Campoverde, Eduardo Flores,
Pablo Freire, Julián Pontón and Marcelo Ruano have been also working with electroacoustic
media in their music.
The aforementioned electroacoustic music studio at DIC, National Conservatory of Music of

Quito, is at present directed by Julián Pontón.
There is another electroacoustic music studio in Quito. Founded and originally directed by
Julio Bueno, it is supported by the Culture Department of Quito’s Municipality as part of the
Departamento de Desarrollo y Difusión Musical or DDDM (Department for Musical
Development and Promotion).
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5.11 El Salvador
Only a few Salvadoran composers have been using electroacoustic media in their music. The
activities in this field are recent in El Salvador.
Manuel Carcache, Francisco Huguet, Juan Carlos Mendizabal, Gilberto Orellana and Alex
Panamá are some composers that produced electroacoustic music works. There were some
early experiences by Germán Cáceres too, but he never completed a piece using electronic
resources.
5.12 Guatemala
Not many Guatemalan composers have been working with electroacoustic media in their
music. However, one of the most important Guatemalan composers, Joaquín Orellana, was
already using tapes in his works in 1963.
The Gandarias brothers, David and Igor, have been composing with electroacoustic media
since the 70s.
There are also works by Dieter Lehnhoff, Paulo Alvarado, and Renato Maselli.
Engineer Francisco Ruiz (born in Guatemala City, 1977) wrote recently (2004?) a thesis
about the relationships between computers and electroacoustic music in Guatemala:
Influencias y Tendencias de la Informática en la Música Electroacústica Guatemalteca.
5.13 Mexico
According to the complete list of works by Conlon Nancarrow, researched by Kyle Gann, the
American born composer was experimenting during the 50s with a tape recorder to see “if he
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could get the rhythms he wanted by tape manipulation” (Gann, K. 1997. Conlon Nancarrow:
Annotated list of Works. Address: http://home.earthlink.net/~kgann/cnworks.html), then his
untitled musique concrète piece could be the first work of that kind realized in Mexico.
Carlos Jiménez Mabarak is mostly accepted as the first Mexican composer that realized a
piece on tape: El paraíso de los ahogados in 1960. He also composed: La llorona, ballet
music for small orchestra, electronic oscillator, tympanis, percussions, piano and strings in
1961, and La portentosa vida de la muerte for tape, in 1964, commissioned by the National
Ballet.
Eduardo Mata composed his ballet music Los Huesos Secos for tape in 1963. Jorge Dájer
composed Acuarimántima for narrator and tape also in 1963. Guillermo Noriega composed
Estudio sobre la soledad in 1963, and Seis estudios sobre el espacio y el tiempo in 1964. José
Antonio Alcaraz composed Fonolisia for tape in 1964. Blas Galindo composed Letanía
erótica para la paz for choir, soloists, orchestra and tape in 1965, and Tres sonsonetes for
wind quintet and tape in 1967. Manuel de Elías composed Vitral No. 2 for chamber orchestra
and tape in 1967. Héctor Quintanar composed Aclamaciones for choir, orchestra and tape in
1967, Sideral I for tape in 1968, and Símbolos for chamber group, tape, slides and lights in
1969. Carlos Chávez used electronic sounds on tape in his ballet music Pirámide, 1968.
Francisco Nuñez composed Los logaritmos del danés in 1968. Alicia Urreta composed
Ralenti for tape in 1969. Mario Lavista composed Espacios imaginarios for tape in 1969.
Manuel Enriquez composed Viols (Móvil II) for violin and tape between 1969 and 1972.
Those were the early days of electroacoustic music in Mexico.
It took a long time until the first project to build an electronic music lab in the country was
realized. Raúl Pavón, an engineer interested both in electronics and music, started to promote
the use of electronic musical instruments in Mexico years before the first studio was built. He
also built an analog synthesizer during the early 60s: the Omnifón.
After many difficulties and frustrated projects, Pavón together with Héctor Quintanar started
to run the first Electronic Music Lab in Mexico as part of the Composition Workshop at the
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National Conservatory of Music. The laboratory started its activities in January of 1970, with
Quintanar as the Artistic Director and Pavón as Technical Director. Modular Buchla and
Moog synthesizers were part of the equipment.
Eduardo Mata, Mario Lavista, Manuel de Elías, Francisco Núñez and Julio Estrada were
among the first composers to study and work there.
Quintanar composed several pieces with the instruments at that lab. Some of them are: Opus
1, 1970; Suite Electrónica, Ostinato and Sideral III, all three 1971; Voz for soprano and
electronic sounds, and Mezcla for orchestra and tape, both 1972.
During 1974 the Electronic Music Lab was moved from the National Conservatory of Music
to the Composers and Authors’ Rights Society (SACM), and around 1977 went to the Centro
Nacional de Investigación, Documentación e Información Musical Carlos Chávez -
CENIDIM (Musical Research and Documentation Center) directed by Manuel Enriquez. In
1992 was moved back again to the National Conservatory of Music.
A few years later other studios were also created in Mexico. During the 80s Francisco Nuñez
opened a small analog lab at the Escuela Superior de Música del Instituto Nacional de Bellas
Artes, INBA (Superior School of Music of the Fine Arts National Institute). Computers were
added later to the lab when Roberto Morales became co-director in 1986.
Another digital lab was created in 1986. Directed by Jorge Pérez, with collaboration by
Braun González, that lab mainly oriented to musical education and notation was based at the
Escuela Nacional de Música de la UNAM (National School of Music of the National
Autonomous University of Mexico).
Also during the 80s, Antonio Russek and Vicente Rojo opened a private studio: Centro
Independiente de Investigación y Multimedia, CIIM (Independent Center for Research and
Multimedia). As the aforementioned labs, this was established in Mexico City. CIIM
published the first recordings with electroacoustic music by Mexican composers in 1984.
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Other labs were opened later in different Mexican cities, like the Computer Music Lab in
Guanajuato, directed by Roberto Morales and Ricardo Zohn; the Electronic Music Studio at
the University of Querétaro, directed by Ignacio Baca Lobera; and the laboratory at the
University of Monterrey, in charge of Juan Luis Rodríguez Trujillo;
During more recent years, the Centro Multimedia (Center for Multimedia) in Mexico City,
part of the Centro Nacional de las Artes (National Center for the Arts) has begun using
electroacoustic media for audio and music projects too.
5.14 Panama
Only a few Panamanian composers have some musical production related to this research,
among them: Emiliano Pardo-Tristán, Samuel Robles and David Soley.
5.15 Paraguay
Only a few Paraguayan composers have been using electroacoustic media in their music.
Activities in this field are recent in Paraguay.
Luis Szarán, a known conductor and composer, used electroacoustic media in some of his
pieces. René Ayala and Hugo Guillermo Villagra Roa have been using electroacoustic
techniques and mixing academic and popular languages in their music. Daniel Luzko, a
young composer living in the United States, also created some pieces using electroacoustic
media.
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5.16 Peru
Any history about the pioneering years of electroacoustic music related to Peru start always
with two names: César Bolaños and Edgar Valcárcel, but both composers realized all their
activities in that field out of their natal country due to the lack of resources in their own place.
The only local references to the early days of electroacoustic music in Peru are related to José
Malsio (born in Lima, 1925), who was experimenting in Lima with some Philips equipments
around 1963.
Bolaños studied in Peru, the United States and then Argentina, where he also was in charge
of the first Electronic Music Lab created at CLAEM in Buenos Aires. At CLAEM Bolaños
composed his first tape piece, Intensidad y Altura, in 1964, being also the first electroacoustic
music composition produced at that Center. During the following years he created several
tape and mixed pieces, including large multimedia performances. Bolaños was also active
researching the application of computers in musical creation. He came back to Peru during
the early 70s, without possibilities to continue the interesting developments he started in the
electroacoustic music field while working in Buenos Aires.
Valcárcel was also at CLAEM during 1963 and 1964 but composed his first piece using
electronic sounds in 1967 at the Columbia-Princeton Electronic Music Center in New York.
He also was composing at the McGill Electronic Music Studio in Montreal, Canada, when he
was Visiting Professor at McGill University during the mid 70s. Like Bolaños, Valcárcel
attempted to impulse the musical creation with electroacoustic media in his natal country but
was not possible for him to develop his ideas.
Composers Enrique Pinilla, Alejandro Núñez Allauca and Oscar Cubillas (born in Lima,
1938) were also interested on electronic music during those early years. Pinilla composed a
piece for tape at the Columbia-Princeton Electronic Music Center in 1967. Núñez Allauca
composed also a piece for tape in 1970 at CLAEM.
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Other composers working in the field during the 70s were Pedro Seiji Asato, who created a
piece for percussion and tape in 1972, and Arturo Ruiz del Pozo, who studied at the Royal
College of Music in London. At that College Ruiz del Pozo composed in 1978 a series of
Canciones Nativas for tape.
During the last years, several composers from the younger generation have been active
working with electroacoustic media, among them: Renzo Filinich Orozco, Gilles Mercier,
Rafael Leonardo Junchaya and Nilo Velarde Chong.
5.17 Puerto Rico
Jack Delano (American citizen; born in a town close to Kiev, Ukraine, 1914; died in Puerto
Rico) visited Puerto Rico as a photographer during the early 40s and returned later the same
decade because of his interest in Puerto Rico’s life. Being also a filmmaker and a composer,
he produced and directed educational documentaries, and often composed the music for
them, too. Working at the Film Section of the Education for the Community Division in the
Public Instruction Department, Delano found several limitations, one of which was the
budget for the music track of the films.
There was not a Symphonic Orchestra in Puerto Rico until the late 50s. According to the
composer Carlos Vázquez, Delano was visiting a technology exhibition in New York where
he saw a tape recorder that the aforementioned Education for the Community Division
bought. Then he started to experiment with that rudimentary equipment around the late 40s,
recording sounds and transforming them, working with similar techniques to those Pierre
Schaeffer and Pierre Henry were also developing in Paris at that time. It should be noted that
for Delano this arose as a necessity. He was not attempting to develop an innovative musical
path; the origin of his experiments was a problem to be solved.
Much later, during the mid 60s, Rafael Aponte Ledée was in Buenos Aires at CLAEM and
Luis Manuel Alvarez in Bloomington at Indiana University, both composers working with
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electroacoustic media. When coming back to Puerto Rico during the early 70s they were
trying to start a small electronic music lab at the University of Puerto Rico. Francis Schwartz
was then directing the Music Department there. At the end of 1974 the University finally
bought an ARP 2600 synthesizer and some other equipment. According to Carlos Vázquez,
that was the first electronic music lab created in Puerto Rico.
Eduardo Kusnir (see his references in the Argentina’ section) was Visiting Professor at the
University of Puerto Rico from 1976 to 1978. He was then teaching electronic music courses
and also in charge of the laboratory. Kusnir also got some new equipment for the studio.
Then he left Puerto Rico and went to live in Venezuela.
Since 1978 Carlos Vázquez have been directing the studio at the University of Puerto Rico.
He has been also active organizing concerts with electroacoustic music, and was Musical
Director of three international symposiums: the first, second an third Muestra Internacional
de Música Electroacústica (International Electroacoustic Music Exhibition) held in 1992,
1995 and 1999.
5.18 Uruguay
Composers Coriún Aharonián and Conrado Silva are two of the main names associated with
the early years of electroacoustic music development in Uruguay.
Aharonián composed several pieces for theatre using electroacoustic media during the early
60s. Conrado Silva composed in 1964 Music for ten portable radios, using computers to
organize the compositional material for his piece.
Before that, Luis Campodónico was using a recorded voice on tape on his mixed piece El
misterio del hombre solo, premiered in 1961.
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Several Uruguayan composers were working at CLAEM, in Buenos Aires, during the late
60s. In its Electronic Music Lab Aharonián composed Que for tape in 1969; Antonio
Mastrogiovanni composed Secuencial II, Ariel Martinez El glotón de Pepperland, Beatriz
Lockhart Ejercicio I, and León Biriotti En la morada de la muerte, all four works for tape,
and realized in 1970.
Renée Pietrafesa, composer, pianist and conductor, composed A los olvidados for tape, and
Sugerencias for soprano, guitar, piano and tape, both in 1972.
Some electroacoustic music works were realized in Montevideo at the cooperative studio
ELAC, pequeño estudio de Montevideo.
In 1997 was founded eMe, the Electroacoustic Music Studio of the Universitary School of
Music in Montevideo. Composer and percussionist Daniel Maggiolo, one of its co-founders,
became director of the Studio in 1998.
It is worth mentioning that there was extensive activity on new music coordinated by a group
of Latin American composers between 1971 and 1989: the Cursos Latinoamericanos de
Música Contemporánea (Latin American Contemporary Music Courses), a regional
cooperative initiative with composers Aharonián and Silva as part of the small core group.
Those intensive workshops, lasting usually around two weeks, were held in different places
around the region: Cerro del Toro, Uruguay, in 1971, 1972, 1974, 1975 and 1986; Buenos
Aires, Argentina, in 1976 and 1977; São João del-Rei, Brazil, in 1978 and 1979; Itapira,
Brazil, in 1980; Santiago de los Caballeros, Dominican Republic, in 1981; San Cristóbal,
Venezuela, in 1985; Mendes, Brazil, in 1989; among others.
On these courses there were students coming from Argentina, Bolivia, Brazil, Colombia,
Costa Rica, Chile, Ecuador, United States, France, Guatemala, Ireland, Italy, Mexico,
Panama, Dominican Republic, Uruguay, Venezuela and other countries. Attendants had the
opportunity to participate in lectures, workshops and short courses by professors like: Coriún
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Aharonián, Louis Andriessen from The Netherlands, José Vicente Asuar from Chile, Beatriz
Balzi from Argentina/Brazil, Jan Bark from Sweden, Françoise Barrière from France, Oscar
Bazán from Argentina, Eduardo Bértola from Argentina/Brazil, León Biriotti from Uruguay,
Lars-Gunnar Bodin from Sweden, Konrad Boehmer from Germany/The Netherlands,
Eduardo Cáceres from Chile, Abel Carlevaro from Uruguay, María Teresa Corral from
Argentina, Willy Correa de Oliveira from Brazil, Micheline Coulombe Saint-Marcoux from
Canada, Emma Curti from Argentina, Vania Dantas-Leite from Brazil, Brian Dennis from
Great Britain, Hilda Dianda from Argentina, Otto Donner from Finland, Julio Estrada from
Mexico, Marlene Fernandes from Brazil, Eduardo Fernández from Uruguay, Zoila Gómez
from Cuba, Marga Grajer from Argentina, Dante Grela from Argentina, Violeta Hemsy de
Gainza from Argentina, Klaus Huber from Switzerland, Nicolaus Huber from Germany,
Yannis Ioannidis from Greece/Venezuela, Bernarda Jorge from the Dominican Republic,
Hans-Joachim Koellreutter from Germany/Brazil, Leo Küpper from Belgium, Eduardo
Kusnir from Argentina, Helmut Lachenmann from Germany, Mario Lavista from Mexico,
Jorge Lazaroff from Uruguay, Mesías Maiguashca from Ecuador/Germany, José Ramón
Maranzano from Argentina, Ariel Martínez from Uruguay/Argentina, Leo Maslíah from
Uruguay, Philippe Ménard from Canada, Gilberto Mendes from Brazil, Emilio Mendoza
from Venezuela, Josep Maria Mestres Quadreny from Spain, Gordon Mumma from the
United States, José Maria Neves from Brazil, Luigi Nono from Italy, Jocy de Oliveira from
Brazil, Joaquín Orellana from Guatemala, Sigune von Osten from Germany, Graciela
Paraskevaídis, Roque de Pedro from Argentina, Jorge Peixinho from Portugal, Eladio Pérez
González from Paraguay/Brazil, Michel Philippot from France, Renée Pietrafesa from
Uruguay, Cergio Prudencio, Folke Rabe from Sweden, Jorge Rapp from Argentina, Fernando
von Reichenbach from Argentina, Alfredo Rugeles from Venezuela, Herman Sabbe from
Belgium, Tadamasa Sakai from Japan, Arturo Salinas from Mexico, María Teresa Sande
from Uruguay, Dieter Schnebel, Dieter Schönbach and Gabriele Schumacher, all three from
Germany, Conrado Silva and Carlos da Silveira from Uruguay, Keith Swanwick from Great
Britain, Tato Taborda Júnior from Brazil, Philip Tagg from Great Britain/Sweden, Werner
Taube from Germany, Ricardo Teruel from Venezuela, Héctor Tosar from Uruguay, Fernand
Vandenbogaerde from France, Jesús Villa Rojo from Spain, Alberto Villalpando from
Bolivia, and Wilhelm Zobl from Austria, among others.
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The international team that was in charge of organizing the workshops in 1989 was made up
by José Maria Neves from Brazil, Coriún Aharonián, Graciela Paraskevaídis from
Argentina/Uruguay, Cergio Prudencio from Bolivia and Conrado Silva. Héctor Tosar, Miguel
Marozzi, María Teresa Sande, all three from Uruguay, and Emilio Mendoza from Venezuela,
were part of the organization team during some time, too.
5.19 Venezuela
The Estudio de Fonología Musical of INCIBA, Instituto Nacional de Cultura y Bellas Artes,
organized during 1966-1967 by José Vicente Asuar (see his references on Chile’ section) is
considered the first electroacoustic music laboratory in Venezuela.
Composer Alfredo del Mónaco started to work actively at that lab since its beginning.
According to him the studio had the classic equipment at that time, with “… generators,
filters, ring modulator, echo, Moog envelope generator, three Ampex tape recorders plus one
four tracks, wide tape, Ampex too” (del Mónaco, A. 2003. Personal communication).
Working in that studio del Mónaco composed between 1966 and 1967 Cromofonías I, the
first electroacoustic music piece created by a Venezuelan composer. Later, between 1967 and
1968, he composed Estudio electrónico I, also for tape.
Composer and musicologist Isabel Aretz (see her references on the Argentina section)
composed Birimbao for tympanis and tape in 1968, which was the first mixed work realized
in Venezuela. Miguel Angel Fuster and Fedora Aleman were also experimenting during those
days at the Estudio de Fonología Musical.
Two events were closely related to the creation and development of the Estudio, first the III
Festival Bienal de Música de Caracas, and then Imagen de Caracas, a big multimedia show
held in Caracas during 1968 to celebrate the 400 years anniversary of the foundation of the
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city. Imagen de Caracas, conceived by Inocente Palacios, was a complex scenic installation
including actors, eight screens for films, three screens for slides, 46 loudspeakers on the
ceiling plus four sound towers broadcasting electronic music (composed by Asuar), songs
and the narrator’s voice.
Asuar left Venezuela in 1968 and most of the equipment of the original studio disappeared.
When the Estudio de Fonología Musical declined, between 1969 and 1971, the Instituto
Interamericano de Música Experimental y Estudios Estéticos, also known as
INTERMUSICA, was apparently developing a few sporadic activities related to
A new studio was founded during the early 70s, the official name was again the same of the
old frustrated project of the 60s: Estudio de Fonología Musical, but is mostly known as
Instituto de Fonología. Antonio Estévez was in charge of its development.
During the first years there were limited activities at the Estudio.
Antonio Estévez composed then pieces like Cromovibrafonía Múltiple, Cromofonía,

Espectrofonía, Pranofonía and Cosmovibrafonía, this last piece including three tape
recorders, piano, vibraphone, tam-tam and gong.
After several problems during that period, two professors coming back from their studies
abroad were incorporated to the institute: Raúl Delgado Estévez and Servio Tulio Marin.
Together with Antonio Estévez they were teaching courses in composition and
electroacoustic music at the Institute.
Raúl Delgado Estévez composed then: Primeletropus for piano, flute an d

synthesizer in 1975; and Derrota for narrato r and tape, based on a t ext by
Rafael Cárdenas, in 1976. Marín composed the electronic music for the film
Shhh by Luis Vil lamizar in 1978.
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The equipment at the Estudio included a big modular ARP synthesizer, a 2600
ARP synthesizer, a portable Nagra tape recorder, two, four and eight channels
tape recorders, a spectrum analyzer, Dolby noise reduction system modules,
echo chambers, equal izers, mixers an d good q uality microphon es, amon g other
reso urces.
The Institute had multiple problems and during the early 80s entered into a new phase.
Composer Aurelio de la Vega (see his references in Cuba’ section) was commissioned to
assist in the process of buying new equipment for the studio.
Composer Eduardo Kusnir (see his references in Argentina’ section) began to teach
electroacoustic music at the Juan José Landaeta National Conservatory of Music in 1980, and
since 1982 he also started to work at the Estudio de Fonología Musical, which he helped to
reorganize. Soon composer Ricardo Teruel became part of the staff of the Estudio too.
Around the mid 80s Kusnir left the Instituto de Fonología and Teruel became its director, but
the studio declined with time.
Kusnir kept working at the Landaeta Conservatory teaching electroacoustic music, at first
using his own equipment. Later the Conservatory bought a Synclavier II digital synthesizer
for its studio.
Around the mid 80s Kusnir founded the Sociedad Venezolana de Música Electroacústica or
SVME (Electroacoustic Music Society of Venezuela).
During recent years, Adina Izarra and some colleagues have been developing electroacoustic
music activities at Simón Bolivar University in Caracas, creating LADIM, Laboratorio
Digital de Música.
CHAPTER VI
COMPOSERS AND THEIR MUSIC
6.1 Introduction
As it was mentioned in Chapter V, these two chapters aim to approach the electroacoustic
music production related to 18 Latin American countries: Argentina, Bolivia, Brazil, Chile,
Colombia, Costa Rica, Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala,
Mexico, Panama, Paraguay, Peru, Puerto Rico, Uruguay and Venezuela.
While Chapter V was presenting a historical introduction, Chapter VI has extensive

information about the composers that were born or pursued a portion of their musical career
there.
Composers’ names were listed according to their year of birth except when it was not
possible to find or confirm the date, and those cases were listed alphabetically at the end of
the corresponding section. Information about their compositions involving electroacoustic
media was also included (e.g. title, instrumentation, year of composition). The listing of their
works is exhaustive, as far as it has been possible to ascertain it.
Many of the compositions listed below are available for listening in the recordings archive I
have developed at the Daniel Langlois Foundation for Art, Science, and Technology. The full
list is included in a special chapter after the Conclusions.
The information about the composers and their compositions can depict a basic profile of
their approach to electroacoustic music. Some of the artists included are mostly devoted to
music creation involving new technologies in their production process, while others have a
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mixed catalog of instrumental and electroacoustic works. In a few cases, the use of
computers, synthesizers or other electronic resources were only part of an ocassional
experience.
6.2 Argentina
Argentina has been an active and prolific place for the electronic arts. Electroacoustic music
experiences started around the early 50s. Sustained activities since the early 60s by a large
number of composers produced, after more than four decades, hundreds of works using
electroacoustic media. Information about composers that have been creating music with
electroacoustic techniques and technologies follows.
Isabel Aretz (born in Buenos Aires, 1909; died in the same city, 2005), musicologist and
composer, moved to Caracas, Venezuela, in 1947 and was living there for many years. She
returned to Buenos Aires during the mid 90s.
Aretz was among the few composers that worked at the first electronic music studio in
Venezuela, founded during the mid-60s: Estudio de Fonología Musical. There she composed
Birimbao, a piece for four timpanis and tape, in 1968.
Isabel Aretz composed also: Yekuana for 8 voices, full orchestra, reciter and tape in 1974;
Kwaltaya, ethnodrama in three ecstasys for tape and acting voice (collage using aboriginal
music on the tape part) in 1980; Gritos en la Ciudad for small orchestra and tape in 1992; and
Hombre al Cosmos, for piano and tape, in 1993.
According to Isabel Aretz (Aretz, I. 2003. Phone conversation), the sound materials for all
her mixed pieces were produced during the 60s, working at the Estudio de Fonología Musical
in Caracas, Venezuela, with José Vicente Asuar. Aretz explained that she wasn’t producing
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sound materials for a specific piece while working there, but creating many different musical
materials with electroacoustic media that were later used in all her mixed pieces listed above.
Eduardo Alemann (born in Buenos Aires, 1922) composed Balada for electric guitar with
electroacoustic processing (reverb, pitch transpose, flanger, distortion, wah-wah, echo) and
strings in 1988.
César Franchisena (born in General Pinedo, Chaco, 1923; died in Córdoba, 1992) was a
major influence on the contemporary music scene of Córdoba for several decades.
Franchisena started to experiment with electroacoustic media in Córdoba during the 50s. He
was experimenting in 1959 at Radio Universidad with electronic sources and composed in
1960 Numancia at CIAL, the Centro de Investigaciones Acústicas y Luminotécnicas
(Acoustic and Lighting Engineering Research Center) of the Universidad Nacional de
Córdoba (National University of Córdoba).
Among other pieces Franchisena composed: Intermezzo (Divertimento) for tape, between
1973 and 1974; Tres momentos mágicos for tape in 1973, realized at CICMAT in Buenos
Aires; Tríptico espacial for oboe, synthesizer and percussion, in 1981; Configuraciones for
synthesizer and piano, between 1982 and 1983; El Ucumar for tape, in 1985; Horeb
(Montaña de Dios) for tape, in 1986; Dúo for flute and computer in 1987; Canticum for
computer, in 1988; and Fulguraciones for computer, between 1989 and 1990.
Eduardo Tejeda (born in Buenos Aires, 1923) composed Estudio Electrónico No. 1 in 1968
and Estudio No. 2 in 1969, both tape works realized at Estudio de Fonología Musical using
electronic sound sources; At-Ocso for full orchestra and tape in 1972, using also electronic
sounds sources for the tape part realized at the Estudio de Fonología Musical; Senzar for tape
in 1975, realized at the personal studio of a friend; Cántico de gloria a Juan Manuel de Rosas
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for tape in 1989, realized at LIPM; and Poesis for tape in 1999, realized at E. Belloc personal
studio.
Tirso de Olazábal (born in 1924; died in 1960) was working with electroacoustic media in
Paris during the 50s. He went in 1952 to France for studying composition, musicology and
conducting, and again in 1957, when he was working with Pierre Schaeffer and Pierre Boulez
at ORTF for a short time. He also visited the electronic music studios in Köln, Germany, and
Milan, Italy.
Tirso de Olazábal composed his concrète piece Estudio para percusión in 1957.
During the 50s he was very involved with promoting concrète and electronic music
techniques in Argentina.
Tirso de Olazábal also wrote the book Acústica Musical y Organología, widely used in
courses of acoustics in Argentina’s conservatories since the 50s.
Hilda Dianda (born in Córdoba, 1925) was also working with electroacoustic media during
the 50s. She composed Dos Estudios en Oposición for tape in 1959, while working at the
Studio di Fonologia Musicale of RAI (Italian Radio and TV) in Milano. This piece was
produced using only electronic sound sources.
In 1964 Dianda composed A 7 for cello and tape, working at the Electronic Music Lab of San
Fernando Valley State College in Northridge, California. The tape part for this mixed
composition was produced using the cello as the only sound source, recording Emma Curti
on the instrument and later applying electroacoustic techniques to the raw materials. The
number 7 on the title comes from the number of sound sources on concert: 3 stereo tape
recorders plus the cello performer.
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During 1975-1976 Hilda Dianda composed … Después el silencio … using electronic sounds
and analog techniques from CICMAT, in Buenos Aires; and in 1984 she created
Encantamientos, a long work structured in three movements, using the Synclavier digital
synthesizer from LIPM.
Nelly Moretto (born in Rosario, 1925; died in Buenos Aires, 1978) composed Composición
9a for two intrumental groups, tape, dance and lights in 1965; Composición 9b for tape in
1966; Coribattenti for string quartet and tape in 1967; Composición No.13: In Memorian J.
C. Paz for trumpet and tape in 1972; and Composición No.14: Bah! le dije al tiempo for
violin, trumpet, piano and tape, between 1974 and 1975.
Rodolfo Arizaga (born Buenos Aires, 1926; died in Escobar, 1985) studied Ondes Martenot
in Paris with Ginette Martenot and introduced the instrument in Argentina when he returned
to the country during the mid 50s.
Among other works Arizaga composed: the first version of Délires, cantata for soloist,
female chorus (three voices), celesta, vibraphone, harp, Ondes Martenot, 3 violins, 3 violas
and 3 cellos, between 1954 and 1957; Sonata Breve for piano and Ondes Martenot, and El
organillo for solo Ondes Martenot, both in 1958. He also used Ondes Martenot on his piece
El ombligo de los limbos, la momia y una encuesta, dated 1969.
Enrique Gerardi (born in Buenos Aires, 1926) is a composer, conductor, researcher and
teacher with activities in different experimental musical fields. Gerardi was Professor of
Musical Acoustics and History of Music at the Catholic University of Argentina, Professor of
Technical Elements of Music at the Gilardo Gilardi Musical Conservatory of La Plata, and
professor of Musical Acoustic Foundations at the National University of La Plata.
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He composed Música de Escena, concrète piece for theater, and Divertimento for tape, both
in 1967; Figura-Fondo, aleatoric piece for electric guitar, piano, percussion, tape and painter
in 1968; Sobre Texturas y Gestos for two flutes, two cellos, piano, tape and improvisation
group, and El Tercer Canto 1970 for instrumental ensemble, tape and improvisation group,
both in 1970; Solo en Presente, concrète music for dance, in 1971; Las Nubes, concrète
music on tape, in 1973. During 1999 he composed Primera Improvisación, an algorithmic
piece produced using the M software.
Gerardi was also working extensively on his digital orchestra compositions; some of them
are: Octeto, 1986; Danza 1, Placas, Dudas, Pentaton, Tetraton, 12 por 8, Casirock, Oncenas
and Balanceo, 1987; Obertura I, VI Balada, Moto, Shimmy, Intermezzo, Virtuoso, Elegía,
Warm Music, Danza 2, Andante, 10 por 8, Preludio, Raro, Mas Raro, Largo and Rápido,
1988; Danzas, Música entre Músicas, Obertura II and En secreto, 1989; Lejanía, 1990;
Combinatorias 2, original for piano dated 1985, version for digital piano, 1990; and Música
entre Músicas/2, 1995.
Gerardi also made translations from English or French to Spansih of complete books by
Joseph Schillinger, James Tenney and several other musicians and theoreticians, just to use
that in his courses and classes of composition.
Augusto Rattenbach (born in Buenos Aires, 1927) composed Pulsaciones for tape in 1974;
Selva I for electronic sounds, and Impulsos for soprano, tape and chamber ensemble, both in
1976; and Selva II for soprano, clarinet, violin, cello, piano and tape in 1978.
Rolando Mañanes (born in Juan N. Fernández, 1928) composed A propósito de Hamlet in

1986, relized at LIPM; Viento prenatal for tape in 1996, realized at GMEB in Bourges,
France; and Un día después for tape in 1997.
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Virtú Maragno (born in Santa Fe, 1928; died in Buenos Aires, 2004) composed
Composición No. 1 for voices, instruments and tape in 1962. The tape part includes, among
other sounds: the voice of cosmonaut Yuri Gagarin, heart beats of Laika (the first dog in
space), and satellite messages.
Jorge Arandia Navarro (born in Buenos Aires, 1929) composed among other works: Forma
Sonora de Ondina for soprano, children´s choir, instrumental group and tape in 1964.
alcides lanza (born in Rosario, 1929) is an internationally recognized composer and pianist,
active also as conductor, teacher and concert organizer.
He graduated with a degree in electronics at the High School, and began studies in
architecture which were not completed but which influenced his style of writing music.
I use ideograms, graphics, drawings (my “little drawings”) with the intention to give
a direct representation of my music and to replace more conventional systems of
notation. [RDF free translation]
lanza, a. 1972. alcides lanza, auto-retrato. Manuscript.
Being awarded a Guggenheim Fellowship, he moved to New York in 1965 to study

electronic music at the Columbia - Princeton Electronic Music Centre. In 1971 he moved to
Canada to teach composition and electronic music at McGill University, in Montreal; and
from 1974 to 2003 he was the director of its Electronic Music Studio.
lanza composed many works involving electroacoustic media, among them: exercise I [1965-
V] for tape in 1965; plectros II [1966-I] for tape and piano, and interferences I [1966-II] for
two groups of wind instruments and electronic sounds, both in 1966; interferences II [1967-I]
for percussion ensemble and tape, and strobo I [1967-V] for double bass, miscelaneous
percussion instruments and tape, in 1967; ekphonesis I [1968-II] for string and/or keyboard
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instrument and tape, and ekphonesis II [1968-III] for voice, piano and tape in 1968; out of…
[1978-I] for electronic sounds, ekphonesis III [1969-II] for wind, keyboard, string
instruments and tape, and penetrations III [1969-V] for eight sound sources, rhythm boxes
and tape, in 1969; penetrations IV [1970-IV] for electronic sounds, and kron’ikelz [1970-II]
for two narrators, chorus, orchestra and tape, in 1970; plectros III [1971-I] for piano and
electronic sounds in 1971; penetrations VII [1972-III] for actress-singer and tape in 1972;
plectros IV [1974-I] for two pianists of opposite sex and tape in 1974; acúfenos III [1977-I]
for for flute, piano and tape, and eidesis IV [1977-II] for wind ensemble and electronic
sounds, in 1977; ekphonesis V [1979-I] for actress/singer, electronic sounds and electronic
extensions in 1979; acúfenos V [1980-II] for trumpet, piano and tape, in 1980; modulos II
[1982-I] for guitar solo and electronic sounds (optional vocal part) in 1982; modulos III
[1983-III] for guitar and chamber ensemble (tenor saxophone, violin, cello, percussion,
piano) with tape, and sensors IV [1983-V] for chorus, electronic sounds and computer, both
in 1983; arghanum I [1986-I] for accordion, clarinets, vibraphone and digital synthesizer,
and modulos IV [1986-I] for guitar, electronic sounds and electronic processing, both in
1986; arghanum II [1987-I] for flute, double bass, violin, clarinet, sax, piano, digital
synthesizer and percussion, arghanum III [1987-II] and arghanum IV [1987-II], both for
digital and analog sounds, all three in 1987; …there is a way to sing it… [1988-III] for digital
and analog sounds, and ekphonesis VI [1988-II] for actress/singer, electronic sounds and
electronic extensions, both in 1988; un mundo imaginario [1989-II] for choir and tape in
1989; arghanum V [1990-I] for accordion (or piano) and tape, and the freedom of silence
[1990-II] for voice, piano and tape, both in 1990; son glosas, claro… [1991-I] for digital
synthesizers and tape in 1991; vôo [1992-I] for acting voice and tape in 1992; piano concerto
[1993-I] for MIDI piano and chamber orchestra in 1993; in…visible [1994-I] for choir and
computer generated tape in 1994; ektenes III [1995-I] for clarinet, electroacoustic music and
digital signal processors in 1995; …the people sang… [1996-I] for voice and tape, and the
big dipper [1996-II] for accordion and tape, both in 1996; ontem [1999-I] for voice, tape,
tablas and DSP in 1999; aXions [2002-I] for voice, violin, double bass percussion and tape,
expançao [2002-III] for actress-singer, DSP and tape, and …como rocas al sol… [2002-V]
for accordion and tape, all three pieces in 2002; aXents [2003-I] for acoustic ensemble
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instrumental and tape in 2003; …’cantos’ rodados [2004-I] for accordion and tape in 2004;
and diastemas [2005-I] for marimba and electroacoustic sounds in 2005.
Regina Benavente (born in 1930) composed Música concertante para clarinete y cinta
magnética during 1968.
Virgilio F. H. Tosco (born in Achiras, province of Córdoba, 1930; died in Córdoba City,
2000) was Professor of Composition, Harmony, Fugue and Musical Forms at the National
University of Córdoba. Tosco was also Coordinator of the Arts area at the Centro de
Investigaciones (Research Center) of the Humanities and Philosophy Faculty of the same
University between 1992 and 1995.
He was among the small group of composers that created the Centro de Música Experimental
(Experimental Music Center) at the National University of Cordoba during the mid 60s,
being his Secretario Coordinador (Secretary Coordinator) between 1965 and 1971.
Tosco composed Complejo No.2 for recorders, piano, percussion, sound objects (aluminium,
bronze and wood) and white noise in 1965, premiered during the Primeras Jornadas de
Música Experimental held in Córdoba in 1966. He also composed several tape pieces:
Ectoplasma in 1966, Homenaje a Poe in 1967, Tres Movimientos para cinta magnetofónica
in 1969, Estudio No. 3 Sobre un Objeto Sonoro and Atmósferas II, both in 1971. In 1969
Tosco created the theatrical piece Ritual del Hombre for actors, image projections and tape.
Most of Tosco’s electroacoustic works were realized at the Laboratorio de Música
Experimental de la Escuela de Artes de la Universidad Nacional de Córdoba (Experimental
Music Laboratory, School of Arts, National University of Córdoba), and also at his own
house and at Horacio Vaggione’s.
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Mauricio Kagel (born in Buenos Aires, 1931), an internationally recognized composer, was
experimenting with electroacoustic media in Argentina during the early 50s. According to
1968 Hugh Davies’ Répertoire international des musiques électroacoustiques / International
Electronic Music Catalog, Kagel realized 8 electroacoustic studies between 1950 and 1953
(working at first directly on disc). Then during 1953-1954 he created Música para la Torre
(also known as Musique de Tour), a sonorisation around 108 minutes long for an industrial
exhibition in Mendoza, Argentina, including an essay in musique concrète (No. 1 para
orquesta; No. 2 estudio para batería; No. 3 ostinato para conjunto de cámara; No. 4 ensayo
de música concreta).
Kagel was trying to establish an electronic music studio in Argentina during the 50s, but he
couldn't realize that project.
He directed many films and was among the founders of the Cinemateca Argentina (Argentina
Film Library). Kagel speaks about film as a kind of modern opera. He also wrote articles on
film and photography for a journal.
Before he moved to Germany in 1957, where he has been living since then, Kagel was
working at Teatro Colón (Colon Theatre) in Buenos Aires.
Among his many musical works, Mauricio Kagel composed: Transición I for electronic
sounds in 1958; Transición II for piano, percussion and two tape recorders in 1958-1959;
Antithese, in two versions: music for electronic and public sounds, and play for one actor
with electronic and public sounds, both in 1962; Phonophonie for one baritone solo, one off-
stage voice, and two tapes (3-6 perc, 3 speakers or singers [2 male and 1 female voice or vice
versa] needed for production of the tape) in 1963; Tremens, scenic montage of a test for two
actors, electrical instruments, percussion, tapes and slides projections, Variaktionen über
Tremens for two actors, tape and slide projections (or film projections ad lib.), and Musik aus
Tremens for electric guitar, electric bass guitar, electric double bass, Hammond organ, one
percussionist and tape, all three pieces in 1963-1965; Camera Oscura, chromatic play for
light sources and actors (part of Journal de Thèâtre) for three actors, three loudspeaker
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groups (behind the stage, at the side of the stage, behind the auditorium), two or three tape
players, three spotlights and three silent colour films, in 1965; Kommentar + Extempore (also
part of Journal de Thèâtre) for one female and one or two male actors, and one-three tapes, in
1966-1967; Unter Strom (Live Current) for three performers (Spanish guitar, electric guitar,
electric bass guitar), miscelaneous experimental sound generators and props as well as
microphones, loudspeakers and amplifiers, in 1969; Acustica for experimental sound
generator and loudspeaker, two-five performers with wind, plucked, and percussion
instruments (there is also a version without taped sounds), in 1968-1970; Exotica (for non-
European instruments), six players with a minimum of 60 assorted plucked, string and wind
instruments, plus tape, in 1971-1972; Kantrimiusik, pastorale for voices, instruments and four
tapes (of country sounds), in 1973-1975; Présentation for speaker, piano and tape, in 1977;
Umzug (Removal), dumb show for stagehands, eight performers and tapes, also in 1977; Die
Erschöpfung der Welt (The Exhaustion of the World), scenic illusion in one act (11 scenes)
for voices, instruments and tapes, in 1976-1978; Die Rhythmusmaschinen (The Rhythm
Machines) for five rhythm-generators/tapes and two percussionists, in 1977-1978; Blue's
Blue a musico-ethnological reconstruction for four players (clarinet and/or sax[es], glass
trumpet [a trumpet sound produced by singing into a drinking glass; guitar; violin/double
bass) and tape, in 1978-1979; Der Tribun, radio play for a political orator, marching sounds
and loudspeakers, in 1979; Aus Deutschland (from Germany), lieder opera in 27 scenes for
voices, orchestra and tapes, in 1977-1980; Szenario (Scenario) for strings (min.12.10.10.8.6)
and tape, in 1981-1982; Mio Caro Luciano, tape collage, in 1985; Atem for solo wind player
(1 player with any 3 instruments) and tape, in 1969-1990; …nach einer Lektüre von Orwell
(…after reading Orwell), radio play in meta-Germanic, with two optional modes of
performance, one for 22 (33 or 44) silent performers and tape, and the other for scenic
environment without performers: two video tapes, 11 television monitors, 22 (33 or 44)
chairs (each illuminated with a spotlight) and tape, in 1993-1994.
Francisco Kröpfl (born in Timisoara, Romania, 1931; lives in Argentina since 1932) started
to experiment with electroacoustic media during the 50s. Together with Fausto Maranca he
founded the Estudio de Fonología Musical at the University of Buenos Aires during 1958,
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one of the first electroacoustic music studios in Latin America. That lab was operational until
1973. Walter Guth, Jorge Menyhart and Jorge Agrest were some of its technicians. Among
the composers that were working at that studio were: Eduardo Bértola, Alberto Coronato,
Dante Grela, José Maranzano, Jorge Molina, Nelly Moretto, Jacqueline Nova, Carlos Rausch,
Jorge Rotter and Eduardo Tejeda.
Kröpfl was also Musical Director of the Electronic Music Lab at CLAEM - Centro
Latinoamericano de Altos Estudios Musicales (Instituto Torcuato Di Tella) between 1967 and
1971, and Director of the Contemporary Music Department at CICMAT - Centro de
Investigación en Comunicación Masiva, Arte y Tecnología (Center for Research in Mass
Communication, Art and Technology) between 1972 and 1976. At the Buenos Aires City
Cultural Center, he has been directing the Music, Sound and Image Department (today Music
Department) since 1982, guiding also one of the main electroacoustic music labs in the
region: LIPM - Laboratorio de Investigación y Producción Musical (Musical Research and
Production Laboratory).
Attracted by the electronic generation of sounds, he composed Ejercicio de texturas and

Ejercicio con Impulsos for electronic sounds, both 1959-1960, at the Estudio de Fonología
Musical in Buenos Aires.
Among other works, Kröpfl composed: Dimensión 1960 II for piano, electric guitar and tape
in 1960; Exercise with colored noise (or Ejercicios con ruido coloreado or Ejercicios con
ruido blanco) in 1962; Música para 3 percusionistas y sonidos electrónicos for 3
percussionists and electronic sounds in 1963; Diálogos I during 1964-1965 and Diálogos II in
1965, both works for tape; Diálogos III and Mutación I, both for tape, and Música para el
audiovisual En el Reino Helado de Flash Gordon for synthesizer, all three works in 1968;
Música para sintetizador for synthesizer in 1970; Tónicas y giros for tape in 1973, realized at
CICMAT; in Buenos Aires Nocturno and Scherzo, both for tape, realized in 1977 at the
Columbia-Princeton Electronic Music Center in New York; Incursiones en el AREM for
synthesizer and computer in 1994; Mutación II for tape in 1985, realized using sounds
produced by a Synclavier II digital synthesizer; Orillas, based on a poem by Rodolfo Alonso,
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and Cuenca. Presagio de pájaros, both for tape, in 1988; Metrópolis - Buenos Aires,
soundscape from the city realized at LIPM in Buenos Aires, and Cronique for tape, both in
1990; Música interactiva for synthesizer and computer, and Música para percusión II for
percussion and electronic sounds, both in 1992; Relato, version for tape only in 1992, and
version for live synthesizer and tape in 1993; El pájaro (in memorian) for tape in 1995;
Vientos for tape in 1996; Al Sur for tape in 1997; El regreso and El vuelo, both for tape, in
2000.
Antonio Tauriello (born in Buenos Aires, 1931) composed Dos estudios d'apres Max Ernst
in 1986.
Rodolfo Alchourrón (born in Buenos Aires, 1934; died in the same city, 1999) composed,
among many other pieces: La historia de un hombre for jazz octet, 3 singers and electronic
music in 1972.
Edgardo Cantón (born in Los Cisnes, Córdoba, 1934) composed among other works:
Animal Animal in 1962; Etude and Tout finit par tomber dans le même trou in 1963; Voix
Inouies in 1965; I palpiti and Pi-ouit in 1966; Manges par une espèce de Serpent in 1967;
Une Espéce de Serpent in 1969; A cheval vers la lune s'en va lagune in 1970; The big Baby's
Gang in 1972; Langue agile, oiseau d'argile in 1973; Alto y falto in 1977; and Promenade
d'ete d'Ulis Nasa in 1984.
Mario Davidovsky (born in Médanos, Buenos Aires, 1934) composed several well-known
musical pieces for electronic generated sounds and acoustic instruments, mainly during the
60s and 70s.
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Among other works Davidovsky composed: Electronic Study No.1, 1960; Electronic Study
No.2, 1962; Contrastes for string orchestra and tape, 1964; and Electronic Study No.3,
between 1964 and 1965. His series of Synchronisms includes: Synchronisms No.1 for flute
and electronic sound, 1962; Synchronisms No.2 for flute, clarinet, violin, cello and tape,
1964; Synchronisms No.3 for cello and electronic sound, 1964; Synchronisms No.4 for chorus
and tape, 1966; Synchronisms No.5 for 5 percussion players and tape, 1969; Synchronisms
No.6 for piano and electronic sound, 1970; Synchronisms No.7 for orchestra and tape, 1974;
Synchronisms No.8 for woodwind quintet and tape, also 1974; Synchronisms No.9 for violin
and tape, 1988; Synchronisms No.10 for guitar and tape, 1992. He received the Pulitzer Prize
in 1971 for his composition Synchronism No.6.
Since the early 60s Mario Davidovsky lives in the United States.
Jorge Edgar Molina (born in San Luis, 1934) composed two electroacoustic pieces for tape
in 1972: Estudio Electrónico No. 1 and Estudio Electrónico No. 2, both realized at Estudio de
Fonología Musical with electroacoustic analog equipment; and Ántropos in 1989, realized in
Santa Fe at EFME, Estudio de Fonología y Música Electroacústica of the Instituto Superior
de Música at Universidad Nacional del Litoral (Phonology and Electroacoustic Music Studio
at National University of Litoral).
Miguel Angel Rondano (born in Godoy Cruz, Mendoza, 1934) composed several pieces
using electroacoustic media during the early 60s.
Rondano composed, in 1963: La batalla de los ángeles for tape; Promenade, 2 Times and
Danza de los resortes, all three pieces for ballet; La Pirámide de Saturno, sonorisation for a
sculpture; and music for a painting exhibition by Carlos Squirru, this last one with Alberto
Villalpando. In 1964: 4 pintores, hoy for film; Ouroboros, ballet music; and the sonorisation
La Muerte, with Alberto Villalpando. In 1965: Microsucesos, musical theatre/happening;
Buen Viaje, sonorisation; and Kesa y Morito for theatre. In 1966: Julia for film; Panto-danza
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… y embolsados for theatre; Help Valentino, for theatre/film; Barbazul, sonorisation; and
Wig’s happening, musical theatre.
He composed some of his works at CLAEM, like Dance Bouquet for tape in 1965, and La
fiesta, hoy in 1966.
Alicia Terzián (born in Córdoba, 1934) composed El enano for tape (dance ad libitum) in
1964; Génesis for tape (dance ad libitum), and Sinfonía en Dos Movimientos for tape and
slides (dance ad libitum), both in 1972; Bestiela for dance or mime and tape in 1981; Canto a
mi misma for 20 strings and live electronics, and El otro Judas for actors, choir and tape, both
in 1987; and Buenos Aires me vas a matar for piano, tape and voice in 1990.
Roque de Pedro (born in Comodoro Rivadavia, Chubut, 1935) composed Respuestas

instantáneas for piano, guitar, instrumental and vocal group, orchestra and 3 photocopy
machines in 1971; El mal de no creer for tape in 1973; Curriculum vitae for tape and
Divertimento para el sonido de un día 14-XII-1972 for tape and 5 performers, both in 1976.
Rufo Herrera (born in Córdoba, 1935) composed Ambitus Mobile I for three instrumental
groups and tape in 1970. Herrera moved to Brazil in 1963.
Oscar Bazán (born in Cruz del Eje, 1936; died in Córdoba, 2005) was one of the composers
that created the Centro de Música Experimental (Experimental Music Center) at the National
University of Córdoba during the mid 60s.
Bazán composed: Simbiosis I for electric organ, percussion and tape in 1964, realized at
CLAEM, in Buenos Aires; and several works for tape: Simbiosis II in 1965, realized at
Centro de Música Experimental in Córdoba; Austeras and Episodios, both in 1973; Parca in
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1974, all three pieces realized at CICMAT in Buenos Aires; Los números in 1975; El círculo
invisible in 1987; Austeras II in 1985, realized at LIPM in Buenos Aires; and in 1989 a piece
for electronics, and participation: El valle de las profecías. Also from the mid 60s is his piece
Kung’hen, for voices and tape.
Enrique Belloc (born in Buenos Aires, 1936) studied with Pierre Schaeffer at the GRM in
Paris during the 60s. He composed: Faber Farven for tape in 1985; Homenaje a Pierre
Schaeffer for live samplers and synthesizers in 1989; Para Bla, un saludo a Barbara Belloc
in 1993, poPierre in 1994, Rugosidades del inconsciente colectivo and Suite Acusmatica in
1995, Objetos Reencontrados in 1997, all of them works for tape; Espacios Acusmáticos for
eight channels tape in 1998; Canto Ancestral: Onoma, Poieo, Tibet, Sueños for tape in 1999;
Tríptico de Bahía Blanca for tape in 2000; and Remix Portraits in 2002.
Gerardo Gandini (born in Buenos Aires, 1936) composed RSCH:escenas for tape, piano
and speakers in 1984.
Carlos A. Ferpozzi (born in Córdoba, 1937) was among the small group of composers that
created the Centro de Música Experimental (Experimental Music Center) at Universidad
Nacional de Córdoba (National University of Córdoba) during the mid 60s.
Ferpozzi has been teaching Harmony, Music History, Morphology, Counterpoint and Musical
Analysis at that University. Since 1994 he is working also as researcher at CIFFyH, Centro
de Investigaciones de la Facultad de Filosofía y Humanidades (Research Center of
Philosophy and Humanities Faculty) and the Secretaria de Ciencia y Tecnología (Secretary of
Science and Technology) of the same University, focusing on Geometría Fractal en la
Música. Sus algoritmos autogenerativos para la composición y el apoyo de las nuevas
tecnologías en este campo (Fractal Geometry on Music - Autogenerative Algorithms for
Musical Composition).
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He wrote papers and articles about: Series Numericas Generativas, Sistemas Estocásticos y
Simulación de Inteligencia (Generative numerical series, stochastic systems and intelligence
simulation); Armonías Apriorísticas Generadas por un Objeto Fractal (Aprioristic harmonies
generated by a fractal object); ¿Holismo Caótico o Caos Estructurado? (Chaotic holism or
structured chaos?); Dimensiones Hausdorff y Holomovimiento (Hausdorff dimensions and
holomovement); Métodos Generativos Unificados en Estética Formal. Sonido, Color y
Forma (Generative methods unified in formal aesthetics. Sound, color and form); and
Introducción al Estudio del Algoritmo Lorenz como Caos Organizado (Introduction to the
study of Lorenz algorithm as organized chaos). Together with César Franchisena he wrote
also about: Automatización de Estructuras Sonoras (Sound structures automation) and
Sonorización con Ordenadores (Sonorisation using computers).
Ferpozzi composed La ciudad, a musique concrète piece, in 1962. During the following years
he created, among other works: Ensayo electrónico concreto No. 1 in 1969; Ensayo
Electrónico No. 2 and Ensayo Electrónico No. 3, both for tape, Pieza para piano preparado y
cinta magnética for prepared piano and tape, and Tres Micro Estructuras para Orquesta de
Cámara y Cinta Magnética for chamber orchestra and tape, all four pieces in 1971, realized
at the Laboratory of the Experimental Music Center.
Since 1980 he has been active in composition again. Ferpozzi composed Criptofonías for
piano, percussion and electronic sounds in 1980, realized at the personal studio of César
Franchisena, and Sintagma for electronic sounds, in 1986. During the following years,
working with the compositional software Sinapsis developed by composer/researcher Eleazar
Garzón on what he named cybermusic, Ferpozzi composed pieces like: Contrapunto
Holístico in 1989, Contrapunto Fractal No. 1 in 1994, Danza Automática in 1995, Signus in
1996, Pequeño Concierto para Corno e Instrumentos Exóticos in 1997, and Pasacaglia in
1998. Some of his recent electroacoustic music pieces are: Estudio sobre ritmos homológicos,
1998; Ibis de los espacios virtuales, 1999; Algoritmo polivalente, a piece created to
demonstrate correlations bewtween sound, color and form based on B. Mandelbrot’s fractal
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algorithm, and Pagoda (4 aforismos), both 2000; Sortilegios, 2001; and Atractores extraños,
2002, experimental piece based on autogenerative processes.
Beatriz Ferreyra (born in Córdoba, 1937) composed at GRM Demeures Aquatiques in 1967,
Médisances in 1968 and L'Orvietan in 1970, all three tape works. In 1972 she composed
Siesta Blanca and in 1974 Canto del Loco, both tape pieces produced at studios of GMEB. In
1976 Ferreyra composed Tierra Quebrada for violin and tape, and between 1980 and 1984
her Jeux des Rondes for piano and tape. During 1982 she composed Boucles, Rosettes et
Serpentins at GMEB, La Calesita at the Blanc-Mesnil Conservatory and Cercles des Rondes.
Dated 1983 is Bruissements, for oboe and tape. Passacaille deboitée pour un lutin for lute
and tape, 1984, and Petit Poucet Magazine and The U.F.O. forest, 1985, were both produced
at GMEB. Dated 1987 is L'Autre… ou le chant des marécages. Between 1988 and 1997
Ferreyra composed Souffle d'un petit Dieu distrait. Among her recent works: Río de los
pajaros azules was composed at Dartmouth College in 1999, Río de los pajaros escondidos at
GRM bewteen 1999 and 2000, and Jazz’t for Miles in 2001.
Marta Lambertini (born in San Isidro, Buenos Aires, 1937) composed Estudio de materia
for tape in 1973.
Jorge Villar (Buenos Aires, 1937) composed, among other works: La melodía perdida in
1994; Transparencias Feéricas in 1995; La lenta y dolorosa transición de las especies in
1996; Las campanas de Loreto, Cuatro historias viscerales, Blue Diamond, Cabbudy,
Mecanismo de relojería, and Innominada, all six pieces in 1997; Mortui Vivos Docent 1997
Verano del 98, and Apenas insinuado, both in 1998; Disrritmia in 2000; Pequeño poema in
2001; Tres piezas antiguas y caóticas (con microsomas) in 2002; and El Club de la calle 42
in 2003; all pieces for tape or CD. He also composed Etnics, En viaje, Fantasma del Alma
and Sinfonía Mecánica.
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Eduardo Bértola (born in Coronel Moldes, Córdoba, 1939; died in Belo Horizonte, Brazil,
1996) composed Episode and Penetraciones in 1969, Dynamus and Pexoa in 1970, and
Penetraciones II in 1971, all works for tape realized at GRM in Paris.
After his stay in Paris from 1968 to 1971 he returned to Buenos Aires and worked at
CICMAT, where he composed pieces like: Elictros in 1972 and Gomecito contra la Siemens
o El Diablo de San Agustín in 1974, both works using electronic and concrète sound sources.
Tramos for tape, 1975, composed also at CICMAT, is considered one of his main works of
those years; it was produced with radiophonic materials and the recording of a mass public
demonstration on the streets.
Between 1975 and 1978 Bértola lived in Buenos Aires and Belo Horizonte, Brazil. While
being in Argentina during 1977, he composed Trovas, Crónicas e Epigramas and Historias
para un movimiento imaginario, borth pieces for tape.
From 1979 to 1984 he lived in Brasilia, Brazil, and composed Dilemas para um Sintetizador,
for tape, in 1981.
From 1985 until his death in 1996 he lived in Belo Horizonte, where he founded the
Laboratory of Composition with Electroacoustic Media in 1985, studio he directed until
1990.
Eduardo Kusnir (born in Buenos Aires, 1939) has been active in electroacoustic music
developing activies in Argentina, Puerto Rico and Venezuela.
In Caracas he was teaching electroacoustic music at Juan Jose Landaeta National

Conservatory of Music and also at the Estudio de Fonología Musical, which he helped to
reorganize during the early 80s. Kusn ir found ed the Sociedad Venezolana de Mú sica
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Electroacústica or SVME (Electroacou stic Music Society of Venezuela) during

the mid 80s.
Among other works, he composed: La Panadería for tape, at CLAEM, in 1970; Ofrenda for
tape at IPEM, Ghent, Belgium, in 1972; Orquideas Primaverales and Como un suspiro caído
del cielo, tape pieces, realized at CICMAT in 1975; El Encanto del Cisne for tape and slides
in 1978; Blancanieves, electroacoustic theatre, between 1980 and 1996; Abajo el terror for
tape, realized at the Landaeta Conservatory of Caracas, Venezuela, in 1984; Cómo es Lily for
tape, realized at LIPM in 1985; Lily en el fuego for tape in 1986; Todavía sin nombre for
mezzo-soprano and tape, realized at the Landaeta Conservatory and El arpa y su hechizo for
harp and synthesizer, both in 1987; Miranda en Francia for tape in 1989; Simple for double
bass, narrator and tape in 1990; El retorno for tape, Melodía for double bass and tape and
Tap-Tap-Tap for tape, in 1992, 1993 and 1995 respectively, all three produced at CEDIAM
in Caracas, Venezuela; Trencito al Caribe [homenaje a Pierre Schaeffer] for tape and Juegos
I for piano and tape, both realized in Puerto Rico during 1996; Juegos II for four handed
keyboard and tape, and Soplos I, musical theatre through Internet, both in 1998.
Luis Arias (born in Buenos Aires, 1940) composed among other works: Canon III for 2
violins, 2 violas, piano, percussion and tape, in 1965; and Gradientes II for 2 flutes, 2
clarinets, alto sax, bass clarinet, violin, cello, piano, and live electronic processing, in 1968.
Graciela Paraskevaídis (born in Buenos Aires, 1940), composer, musicologist and educator,
wrote extensively about Latin American music.
She composed, among other pieces: Combinatoria II for piano, trombone, percussion and
tape in 1966 at the Electronic Music Lab of CLAEM; Subliminal for piano and tape in 1967
at her home studio in Buenos Aires; Aphorismen for two actors, piano, percussion and tape in
1969 at her home studio in Freiburg, Germany; huauqui for tape in 1975 at Elac, pequeño
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estudio de Montevideo; and A entera revisacion del publico en general for tape in 1981, also
produced at Elac, pequeño estudio de Montevideo. Paraskevaídis lives in Montevideo,
Uruguay, since 1975.
Armando Krieger (born in 1940) composed Contrastes for two pianos and tape in 1963. The
tape part of that piece was realized by composer alcides lanza.
José Maranzano (born in Santiago del Estero, 1940) received an scholarship to study at
CLAEM during 1969 and 1970.
During the 70s he was part of the directive group of CICMAT and later director of Centro
Cultural Ciudad de Buenos Aires, which changed its name for Centro Cultural Recoleta some
years later.
Among other works Maranzano composed Mnemón for tape in 1970, realized at CLAEM,
and Memento, for orchestra and tape, in 1975.
Graciela Castillo (born in Córdoba, 1940) was among the small group of composers that
created the Experimental Music Center (Centro de Música Experimental) at the National
University of Córdoba during the mid 60s. She is at present Professor of Composition and
Music Analysis at the same University.
Among other works she composed: Diálogos for two voices, typewriters, radios, and
percussion, and Homenaje a Eliot, open work for voices, concrète sounds and music theatre
actions, both in 1965; Concreción-65, musique concrète on tape, between 1965 and 1966;
Colores y masas, concrète music for paintings by José De Monte, in 1966; Estudio sobre mi
voz, Estudio sobre mi voz II, and Tres estudios concretos, all three pieces for tape, in 1967; El
Pozo, original version for voices, two wind instruments, typewriters and percussion, 1968
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(the score was published in J. Cage’s book Notations), second version for instruments and
tape, around 1969; Y así era for tape in 1982, produced at LIPM; Memorias, a series of three
electroacoustic pieces for tape including: La casa grande, Memorias and Memorias II, all in
1991; Tierra for tape in 1994; Iris en los espejos for tape, and Iris en los espejos II for piano,
keyboards and processed sounds, both in 1996, realized at ARTHE Group Lab in Córdoba;
De objetos y desvíos for tape between 1998 and 1999, produced at her personal studio; Los 40
pianos de San Francisco for prepared piano and processed sounds in 1999; Alma mía for tape
in 2000, produced at IMEB in Bourges, France; Ofrenda and Ofrenda II, both for flute and
processed sounds, in 2001; Retorno al fuego, produced at her personal studio, and La vuelta
(Tango), both for tape, in 2002.
María Teresa Luengo (born in Quilmes, Buenos Aires, 1940) studied composition at the
Catholic University of Argentina. During 1990 she designed the curriculum for the
Electroacoustic Music career developed at the National University of Quilmes and became its
first director.
She composed among other works: Absolum for tape in 1973, realized at CICMAT in Buenos
Aires; Now for CD in 2001, and El Pensamiento Fugaz y la Eternidad in 2002 for electronic
sounds, both realized at her personal studio; Saltos transparentes III for piano and electronic
sounds, and Tierra que habla. Somuncura I for electronic sounds, both pieces in 2004.
Carlos Cutaia (born in Buenos Aires, 1941) was at CLAEM – Instituto DI Tella between
1965 and 1969. Among other works he composed Paisaje Nocturno for piano, electric bass
and computer. Cutaia also performed with some of the best-known Argentinian rock groups
during the 70s.
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Dante Grela (born in Rosario, 1941) composed his early concrète pieces on tape during the
60s working at his private studio in Rosario. He has an extensive catalog of musical works
worked with electroacoustic media.
Some of his works are: Música para el film ‘C-65’, 1965; Combinaciones for mixed choir,
percussion and tape, and Ejercicio I for electronic sounds on tape, both 1968; Faena for
voices, free chosen instruments, tape and lights, 1972; Voces for tape, female voice,
trombone, piano and percussion, 1976; Frase for electronic sounds, flute, bassoon, double
bass, piano and percussion, 1978; Glaciación for tape, 1979; Configuraciones espaciales for
electronic sounds, 1982; Composición for flute, clarinet, tenor sax and electronic sounds,
1983; Relieves for tape, 1985; Intangibles Universos for processed voice and electronic
sounds, 1986; De los Mundos Paralelos, version for piano and chamber group, and version
for piano and electronic sounds on tape, both 1989; Composición for electronic sounds, 1991;
Sonoridades for electronic sounds on tape, guitar, or guitar and electronic sounds, 1993;
Tiempos for electronic sounds, 1997; and Mixturas for clarinet, alto sax, violin and electronic
sounds, 2002. Grela realized most of his pieces at his personal home studio in Rosario.
Dante Grela is Profesor of Composition, Acoustics, Orchestration and Electroacoustic Music

at the Escuela de Música de la Universidad Nacional de Rosario (Music School of National
University of Rosario), and Director of the Electroacoustic Music Studio at that University.
He also teaches at other institutions and has been researching on Cultural identity and Latin
American musical creation in the XX century (Grela, D. 2004. Personal communication).
Carlos Roqué Alsina (born in Buenos Aires, 1941) composed Juego de Campanas for three
or more bells and tape in 1969; Etudes for orchestra and tape in 1978; Hinterland for piano,
percussion and tape in 1982. He lives in Europe.
Pedro Echarte (born in Bell Ville, Córdoba, 1942; died in Ibiza, Spain, 2005) composed
Estudio para la voz humana and Estudio II in 1964, Ray Conniff en Viet Nam and Treno in
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1965, Twist y Gritos: los Beatles in 1966, and Estudio Onírico para Cronopio, all six pieces
for tape; he also composed Estudiantina, film music, in 1965, and El Gran Bonetón for
theatre, in 1966.
Jorge Rotter (born in Buenos Aires, 1942) composed among other works: Solo para violín y
cinta magnética in 1968, and Montaje I in 1992.
Luis Maria Serra (born in Lanús, 1942) studied at CLAEM – Instituto Di Tella between
1967 and 1968; in 1969 went to Paris to study at GRM with Pierre Schaeffer, François Bayle
and Bernard Parmegiani.
During the 70s he founded together with Susana Barón Supervielle and Lionel Filippi the
studio ARTE 11 - Atelier de Realizaciones Técnico Electroacústicas. Serra together with
Susana Espinosa and Jorge Padin were on the steering committee until the studio closed in
1978.
Among other works he composed: Tenebrae Factae Sunt for tape in 1968; Canto de los
Suplicantes for orchestra, chorus and tape, and Invocation for tape, both in 1969; Abismos for
piano and tape in 1970; Ipse realized at ARTE 11, and Soles realized at GMEB in Bourges,
France, both pieces for tape, in 1971; Q’ura K’ura for tape in 1973, realized at GMEB in
Bourges; Visiones for tape in 1976, realized at ARTE 11; Cántico de las Creaturas for tape
between 1981 and 1983, realized at his personal studio; Obertura y Alabanza in 1984;
Melólogo I and Poblaciones, both in 1987; A.M.A. DEUX in 1991; Impromptu for tape in
1993; Marina – de un tiempo de verano in 1998; and Invierno de plata in 2002.
Luis María Serra is also widely recognized for his film music.
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Alberto Paulín (born in Comodoro Rivadavia, 1943) composed El grito de Tinta for soloists,
2 reciters, chorus, orchestra, Synclavier digital synthesizer and tape; Baguala for tape; and
Pasaje de ida, a story in sound, realized at GMEM - Groupe de musique expérimentale de
Marseille.
Horacio Vaggione (born in Córdoba, 1943) is an internationally recognized composer with

an impressive catalog of electroacoustic music works.
He composed his early pieces in Cordoba: Música Electrónica I for tape in 1960; Ensayo
sobre mezcla de sonidos, Ceremonia and Cantata I in 1961; Música electroacústica II,
Hierro y espacio and Ananke in 1962; Ritual in 1963; Hierro y espacio II in 1964; Sonata 2,
Sonata 3 and Sonata 4, all three for piano and tape, Salmo for tape, and the multimedia piece
Untitled, for 4 instrumental groups, live electroacoustic processing, movements and lights, in
1965; Tres piezas electrónicas and Cálimo II for tape, and Fausto for electronic sounds and
orchestra, all three in 1966; and Tierra-Tierra for tape between 1966 and 1967.
After those early years in Cordoba, Vaggione composed among other works: Suite para cinta
magnética for tape, and Electrata for live electronics, both in 1967; Inauguracion de la
Conexion for live electronics in 1968; Interfase for live electronics in 1969, realized at Studio
ALEA in Madrid, Spain; Modelos de Universo II for instruments (flute, clarinet, violin, cello,
piano) and computer generated sounds on tape in 1970; Kalimo for live electronics, and La
maquina de cantar for computer, both in 1971; Kala for live electronics, and Modelos de
Universo III, version for computer solo, both in 1972; Triage for 20 tapes and live electronics
in 1974, realized at Mills College, California, United States; Ending between 1975 and 1976;
Comme le temps passe for ensemble and electronics, and Four Streams for ensemble and
electronics, both in 1977; Autour-Frames for piano and 4 synthesizers in 1978; L’Art de la
mémoire for live electronics, between 1970 and 1979; Daedalus for electronic and
instrumental ensemble in 1980; Septuor for electronic ensemble in 1981; Octuor for
computer generated sounds on 8 tracks tape, realized at IRCAM in Paris, in 1982; Fractal A
for computer generated sounds on 16 tracks tape in 1982; Charybde for tape in 1983; Fractal
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C for computer generated sounds on 16 tracks tape, and Strata for tape, both in 1984; Thema
for saxophone and tape in 1985; Set for bassoon and tape, and Tar for bass clarinet and tape,
both in 1987; Scir for bass flute and tape in 1988; Holos for percussion, live electronics and
tape between 1989 and 1990; Ash for tape in 1990; Till for piano and tape in 1991; Kitab for
bass clarinet, double bass, piano and live electronics in 1992; Leph for piano and live
electronics in 1993; Schall for tape in 1994; Rechant for tape in 1995, realized at INA-GRM
in Paris; Myr-S for cello and live electronics in 1996, realized at IMEB in Bourges; Frayage
and Nodal, both for tape, in 1997; Agon for tape, and Champs parallèles for tenor sax and
UPIC system, both in 1998; Préludes Suspendus II for tape in 2000; Phases for clarinet,
piano and live electronics, and 24 Variations for tape, both in 2001; Petite Suite for tape,
Atem for French horn, bass clarinet, double bass, piano and live electronics, and Harrison
Variations, all three for tape, in 2002.
Some of Vaggione’s articles and reports are: Composición musical y ordenador, published in
Boletin del Centro de Calculo n° 18, Universidad de Madrid, 1970; Un sistema de síntesis
numérica por ordenador, published in Boletin del Centro de Calculo n° 23, Universidad de
Madrid, 1972; Mixing procedures formalized: a graph theory approach, Research Report,
Contemporary Music Center, Mills College, Oakland, California, 1974; Sur Fractal C,
Research and creation report, IRCAM, Paris 1983; Poly-phonies: critique des relations et
processus compositionnels, doctoral thesis, Département Musique, Université Paris VIII,
1983; The Making of Octuor, published in Computer Music Journal, Vol.8 No. 2, The MIT
Press, United States, 1984; Projet Informatique Musicale. Propositions pour la création d'un
Centre d'informatique musicale à l'Université de Paris-VIII, report, Contrat d'Etudes
Compagnie IBM France - Université de Paris-VIII, 1985; On Object-based Composition, in
O. Laske (editor): Composition Theory. Interface Journal, Vol. 20 No. 3-4, Amsterdam,
1991; Determinism and the False Collective. About Models of Time in Early Computer Aided
Composition, in J. Kramer (editor): Time in Contemporary Music Thought. Contemporary
Music Review, Vol. 7 No. 2, London, 1992; Computer Music: The relationship between
Micro and Macro-Time, in S. Macey (editor): The Garland Encyclopedia of Time. Garland,
New York, 1993; Timbre as Syntax: an Spectral Modeling Approach, in S. Emmerson
(editor): Timbre in Electroacoustic Music. Contemporary Music Review, Vol. 11 No. 1,
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London, 1994; Articulating Micro-Time, published in Computer Music Journal, vol.20 No.1
20, The MIT Press, United States, 1996; Singularité de la musique et analyse: l'espace
d'intersection, in Analyse en Musique Electroacoustique, Bourges, Editions Mnemosyne,
1996; Son, temps, objet, syntaxe. Vers une approche multi-échelle dans la composition
assistée par ordinateur, in Musique, rationalité, langage. Cahiers de philosophie du langage
No.3, published by L'Harmattan, Paris, 1998; Transformations Morphologiques, in Actes des
Journées d'Informatique Musicale (JIM) 1998, LMA-CNRS, Marseille, 1998; Composing
with Objects, Networks and Time Scales, published in Computer Music Journal, Vol.4 No.3,
The MIT Press, United States, 2000; Some Ontological Remarks about Music Composition
Processes, published in Computer Music Journal, Vol.25 No.1, The MIT Press, United
States, 2001; Composing Musical Spaces by Means of Decorrelation of Audio Signals,
published in the Proceedings of the European Digital Audio Effects Conference (DAFx)
2001, University of Limerick, Ireland, 2001; Décorrélation temporelle, morphologies et
figurations spatiales, in Actes des Journées d'Informatique musicale (JIM), Marseille,
GMEM, 2002.
After some time in the United States and Spain, Horacio Vaggione established himself in
Paris many years ago.
Julio Martín Viera (born in Buenos Aires, 1943) composed: Mutación, electronic music,
between 1973 and 1974; Skolyon, electronic music, in 1975; Divertimento I for piano, five
percussionists and tape in 1986; Divertimento II (El Reloj), electronic music, in 1987;
Divertimento III in 1993, all three pieces realized at LIPM in Buenos Aires; and La nuit,
realized at GRM in Paris, France.
He is Director of the Musical Production Department at Centro Cultural Recoleta (Recoleta’s

Cultural Center) in Buenos Aires, from which the Musical Production and Research Lab,
LIPM, is part.
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Lionel Filippi (born in Buenos Aires, 1943) composed, among other works: Canto
Americano for tape in 1972; Voyage for tape in 1973; Voyage II for chamber ensemble and
tape, and Jardines for tape, both in 1974; Voces for double string orchestra and tape between
1974 and 1975; and Ceremonias for tape between 1876 and 1977.
During the 70s he founded together with Susana Barón Supervielle and Luis María Serra the
studio ARTE 11 - Atelier de Realizaciones Técnico Electroacústicas. That studio was closed
in 1978.
Mariano Etkin (born in Buenos Aires 1943) composed Dividido Dos for amplified
accordion and electronic sounds in 1971.
Eduardo Piantino (born in Rosario, 1943) composed Ambulat Hic Armatus Homo in 1987.
Stella Perales (born in Rosario, 1944) composed Planos Imaginarios for tape in 1987, and
Un solo tiempo … for tape in 1991, both realized at TADMER, Taller de Electroacústica
from the Instituto Nacional del Profesorado de Música de Rosario, in Rosario, Argentina.
Carlos Simkin (born in 1944) composed Contradicciones in 1986, and Música para saxo y
sonidos electrónicos in 1990.
Elsa Justel (born in Mar del Plata, 1944) lives in France since 1988. She studied music in
Argentina at the Provincial Conservatory of Mar del Plata and National University of
Rosario, and later in France at the University of Paris VIII, from where she obtained her Ph.D
in Aesthetics, Science and Technology of Arts.
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Among other works she composed: Ischihualasto for tape, between 1988 and 1989; Sikxo for
saxophone and tape in 1989; Tiempo de Antorchas for oboe and tape, and Batucada for
percussion and tape, both in 1990; Verás llorar la Biblia … for tape, between 1990 and 1991;
Fy Mor for tape in 1991; La ventana deshabitada for harpsichord and tape between 1990 and
1992; Latido Estival for tape in 1992; All+ for double bass and interactive system in 1993;
Sakhra for tape, between 1993 and 1994; Thun and Talla, both for tape, and Feuillage de
Silence for flute, oboe and tape, all three works in 1995; Chi-pa-boo for tape in 1996; Alba
Sud for tape between 1997 and 1998; Mats for tape in 1999, and Debris, also an
electroacoustic music work, in 2003.
Carmelo Saitta (born in Stromboli, Italy, in 1944) lives in Argentina since 1951. Among
other pieces he composed: Collage in 1973, Dos estudios electrónicos between 1975 and
1976, Primera composición electrónica in 1977, and La maga o el ángel de la noche in 1989,
all four works for electronic sounds; U mare strombolicchio e’ chidda luna for three
percussionists and tape in 1993; Pliegues, borras de humo, sueños for tape in 1996; and
D’apres Pliegues for piano and tape in 2002.
Jorge Rapp (born in Buenos Aires, 1946) have been composing electroacoustic music since
the early 70s, when he received an scholarship from the National Endowment for the Arts of
Argentina (Fondo Nacional de las Artes) and CICMAT - Center for Research in Mass
Communication, Art and Technology (Centro de Investigación en Comunicación Masiva,
Arte y Tecnología) to study composition.
Among other works, Rapp composed these electroacoustic pieces for tape: Estudio I in 1973,
realized at CICMAT; Un tiempo, un lugar... in 1975, realized at personal studio and
CICMAT; Cotidiana in 1978, realized at personal studio; El Prolongado Cuento in 1979,
realized at the Musical Studies Center (CEM - Centro de Estudios Musicales); Dos piezas
para una puerta o viceversa in 1980, realized at CEM; Aquí, allá y en todas partes in 1984,
realized at CEM; Estudio Electrónico II in 1985, realized at LIPM; Divertimento para dos
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guitarras encintas in 1988, realized at CEM; Evocaciones in 1989, realized at CEM; Break
Up in 1992, realized at CEM; Biosfera Uno in 1994, realized at CEM; Tramas in 1996,
realized at CEM; Objetos animados in 1996, an hommage to Pierre Schaeffer, realized at
CEM; Tiempos Virtuales in 1997, realized at LIPM and CEM; and Tres Momentos, version
stereo realized at CEM in 1999, 8 channels version realized at LIPM in 2000.
Rapp is also founder and director of the Sound Laboratory at the Musical Studies Center
(CEM - Centro de Estudios Musicales) in Buenos Aires, and President of FARME - Buenos
Aires (Buenos Aires chapter of the Argentina’s Federation of Electroacustic Music) since
2001.
Eleazar Garzón (born in Pozo del Molle, Córdoba, 1948) graduated as Professor in
Harmony and Counterpoint at the School of Arts of the National University of Cordoba
(UNC). He also studied stochastic music and new compositional algorithms with César
Franchisena.
Garzón composed, among other works: Radizapping in 1987; Machu Picchu for tape in 1989;
Espejo Humeante in 1990 and Espejo Humeante (II) in 1991; Nasca for tape in 1992; Coñi
for tape in 1993, La morada del cóndor, also for tape, in 1994, realized at the studio of the
School of Arts; Gritos in 1997; Concierto para arpa y sonidos electrónicos in 1996; a
soundscape, Nubwaora and Eleas, both in 1999. Virtual Strings, orlEGm’s Creatures, and
Xibalba, based on The holy wood by Marilyn Manson and Tenebrae Responsories for Holy
Saturday by Carlo Gesualdo, all three pieces in 2000; Heteróclita in 2001; Dollar o’mine,
and El otro lado, for tape, realized at LIEM (Laboratorio de Informática y Electrónica
Musical), Spain, both in 2002; Winter, realized between 2002 and 2003; and Antártida
composed in 2003. Other pieces by Garzón are: Ancestros and Rugosidades en los pliegues
de Oniria.
He has also composed music for theatre and video. Some of those works are: Doors, dated
1993, and Las instalaciones en Córdoba, dated 1996.
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At present Eleazar Garzón is Professor of Composition, as well as Counterpoint, at the

aforementioned School of Arts. He is also Researcher at the Philosophy and Humanities
Faculty of National University of Córdoba. His actual research line is aimed to the
development of genetic algorithms (artificial life) applied to computer-assisted musical
composition.
Garzón has been also developing software for musical application, like Sinapsis and Mus-
ario. More references on Garzón’s research projects could be found in chapter VIII, section
8.2 Recent research.
José Luis Campana (born in Buenos Aires, 1949) composed Imago for 16 voices and tape;
D’un geste apprivoisé for bassoon and CD; and Tangata vocale for voice, 5 instruments and
CD. Campana lives in France.
Daniel Cozzi (born in Cañada de Gómez, Santa Fe, 1949) composed among other pieces
Etnográficas I for viol, double bass, percussion and tape.
Ricardo Mandolini (born in Buenos Aires, 1950) composed extensively with electroacoustic
media. Some of his works are: Ejercicio CICMAT for tape, produced at CICMAT in 1977; El
Cuaderno del Alquimista for tape, produced in Ghent, Belgium in 1979; Estallido Breve for
tape, produced at EMS, Sweden in 1981; Círculos Fosforescentes en Fondo Negro for tape,
composed in 1982; De mi huían los pájaros in 1983; Andrómeda for percussions and tape,
dated 1984; Las Doradas Manzanas del Sol, produced with the UPIC system in Paris during
1985; Microrreflexiones, version for tape, produced at GRM in Paris during 1989; Los
enemigos del hombre de conocimiento for tape, and La Legende des Clones, both composed
in 1995. He has been living in France for many years.
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Miguel Angel Sugo (born in San Juan, 1951) composed Ticia Jus for string orchestra, two
flutes, oboe, clarinet, sax, trombone, percussion and tape.
Alejandro Viñao (born in Buenos Aires, 1951) is another composer with a significative
catalog of works including electroacoustic and computer media.
Some of his works are: Una orquesta imaginaria, four channel electroacoustic composition,
1979; Go eight channel electroacoustic composition, 1981; Hendrix Haze, four channel
electroacoustic composition, 1983; Triple Concerto for flute, cello, piano and computer,
1984; Toccata del Mago for 8 strings (4 violins, 2 violas, 1 cello and 1 double bass) and
computer, 1986-1987; Son Entero for 4 singers (S.A.T.B.) and computer, 1985-1988;
Tumblers for violin, marimba and computer, 1989; Chant D’Ailleurs, 1991-1992, Borges y el
Espejo, 1992 and Hildegard’s Dream, 1994, all three pieces for soprano and computer;
Phrase & Fiction” for string quartet and computer, 1994-1995; Apocryphal Dances for
symphony orchestra and computer, 1996-1997; Rashomon: the opera, opera for five singers,
mixed choir and computer, 1995-1999; and Eipitafios for mixed choir and computer, 1999.
Alejandro Viñao lives in London, England.
Eduardo Checchi (born in Buenos Aires, 1952) composed Reflejos in 1991, Mainumbi in
1992, Dominium in 1996, Soplosop in 1997 and Facundia in 1998, all five works for tape.
Ricardo Pérez Miró (born in Paraná, 1952) is founder and director of EFME – Phonology
and Electroacoustic Music Studio at National University of Litoral (Estudio de Fonología y
Música Electroacústica - Universidad Nacional del Litoral) and professor of Musical
Composition with Electroacoustic Media at the same University.
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Among other works he composed: Improvisaciones Polifónicas II in 1983-1984, realized at

his private studio; Vértex in 1988, realized at EFME; Lugares in 1989; Otros Lugares in
1994; Viento del ruido in 1998 (revised 2002); Preámbulo in 2001; Per Suonare and Donde
crecen los trigales in 2002; all eight pieces for tape. Dated 1990 is his mixed piece Cheveux
d’eau (sans parapluie) in two versions, one for voice, cello, trombone, guitar, percussion and
tape, and the other version for clarinet, bass clarinet, bassoon, cello, double bass and tape.
He also composed Entre la noche y el océano in 1999, working as guest composer at the
Electronic Music Studio of McGill University in Montreal, Quebec, Canada, based on sound
materials previoulsy digitized at LIPM in Buenos Aires.
Daniel Teruggi (born in La Plata, 1952) studied composition and piano in Argentina. In
1977 he moved to France and studied at the Paris Conservatory (Conservatoire National
Supérieur de Musique de Paris) in the department of Electroacoustic Composition and
Musical Research. In 1998 he obtained a PhD in Aesthetics, Science and Technology of Arts
at Paris VIII University.
In 1981, Teruggi became member of the INA-GRM where he first was in charge of the
pedagogy of digital systems for composers, and then became Artistic Director of the group.
Director of the Groupe de Recherches Musicales since 1997, he is actually Research Director
in the INA.
He also teaches Sound and Visual Arts at the Paris I Sorbonne University, and is director of a
Seminar on new technology at the Paris IV University.
Among other works he composed: Pingata for tape in 1979; Deux études de composition for
tape in 1980; Tempo Lontano for tape in 1982; Eterea for tape, and E cosi via for piano and
tape, both in 1984; Leo le jour for tape in 1985; Aquatica for tape, and Le cercle for flute,
clarinet, cello and tape, both in 1986; Xatys for saxophones and real time digital processings
with Syter in 1987; Wind Trip for saxophone, clarinet, French horn, tuba and DX7 in 1988;
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Focolaria and Terra for tape in 1989; tape music for L’enchanteur pourrissant by Guillaume
Apollinaire, from Le théâtre des poètes series, in 1989; Mano a Mano for tape, collaboration
with Jean Schwarz, in 1991; Syrcus for boobams, udu drums, Syter and tape in 1992; Instants
d’hiver for tape in 1993; Saxtenuto for sax and tape, and Tempo di Basso for tenor
saxophone, double bass, bassoon and tape, both in 1994; Gestes de l’ecrit, produced with the
UPIC system, Tempo Primo, and Variations morphologiques, all three works for tape, in
1995; Summer Band for bandoneón and tape in 1996; Fugitives voix for recorded sounds on
fixed media, and Reflets éphémères for 16 instruments and recorded sounds on fixed media,
both in 1997; Crystal Mirages for piano and recorded sounds on fixed media, and Images
symphoniques for recorded sounds on fixed media, both in 1998; The Shinning Space for 8
tracks media in 1999, and Phonic Streams for piano, percussion and recorded sounds on fixed
media, both in 1999; Struggling for percussion and recorded sounds on fixed media, and EST
for sopranino saxophone and recorded sounds on fixed media, both in 2000; Gira, Gira for
octophonic media in 2001; Jon-ty for recorded sounds on fixed media, Up-IX for piano and
recorded sounds on fixed media, La voir a sons for 5 percussionists, harmony orchestra and
electroacoustics, and Les baigneuses, electrocoustic music for the film by Viviene Candas, all
four pieces in 2002.
The work for tape known as Sphæra, is a four section version dated 1993 based on the
original pieces realized between 1984 and 1989: Eterea, Aquatica, Focolaria and Terra.
Most of Teruggi’s works involving electroacoustic media were realized at the GRM studios,
but since 2000 he has been composing several pieces at his personal studio.
Ofelia Carranza (born in Córdoba, 1953) composed Renacer for tape in 1994.
Oscar Edelstein (born in La Paz, Entre Ríos, 1953) composed Noneto 1987 for 9 wind
instruments and tape, and Viril Occidente I, both in 1987; Viril Occidente II in 1990; Los
megabytes for chamber orchestra, mixed choir and tape in 1993;. Carnaval para una Lulú
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mecánica, opera on tape (electroacoustic music), in 1994; El tiempo, for musical theatre
(electroacoustic), in 1995; and Klange, Klange Urutau for 4 singers, 3 keyboards, guitar,
double bass, bass, percussion and tape in 1997. He also composed the electroacoustic opera
Tiradentes, among other works.
Daniel Schachter (born in Buenos Aires, 1953) is professor at the National University of
Lanús, and artistic co-director of the Sonoimágenes festival.
Among other works he composed: Ecos for amplified piano and electronic sounds in 1990;
Hálito for amplified flute and electronic sounds in 1991; A 1, real time electroacoustic music,
in 1992; Seine sans e and Tiempo quebrado, both for tape, and Tiempo ausente for flute,
violin, bassoon, cello, piano and tape, all three works in 1993; En pos del tiempo for flute and
real time generated electronic sounds, Espejos virtuales, realized at GRM in Paris, and
Intramuros, all three pieces in 1994; Intramuros II in 1995; Fuga tras un objeto oculto in
1996; ... raíces lejanas, tal vez in 1997; LuzazuL in 1998-1999; Lineas y puntos de otro
tiempo in 2000; Efecto tango in 2001 (revised 2002), all this eight pieces for tape; FlaX for
flute and live electronics in 2002.
Héctor Fiore (born in La Plata, 1953), performer, teacher and composer, specializes in
interactive composition. Many of his works involves image projections as well as real time
musical performances using computers.
Fiore have been composing for loudspeakers, tape or live electronics and acoustic
instruments, and involving live and recorded music with images. For some of his works he
tracks movements the performer does on the computer screen to generate images and act over
the musical material, while on other pieces, the live music is generated interactively reacting
to dance movements, light and shadow, or other acoustic sounds being performed.
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Among other pieces, Fiore composed: Cuatro minutos antes for tape in 1986; Tectona for
tape, el rancho for oboe, string quartet and tape, and a bylo to tak..., all three works in 1989;
Puerto rico, Ciao Bambina, and Kai generated, all three for computer, and Las vaquitas son
ajenas for charango, computer and tape, in 1990; Czarny Kwiat, with R. Black, interactive
work for double bass and computer in 1993; Son de uno, interactive work for percussion and
computer in 1994; candombe and bolero2b, both for computer, in 1995; Unbolerito for wind
electronic instrument and computer, and Drawing Music 1 for computer and digital drawing
projection, both in 1996; Un romance en tiempo de candombe for computer, and MWX str for
wind electronic instrument and computer, both in 1997; Varyasyonlar 1 for wind electronic
instrument and computer, Tan go zando 1 & 2 for wind electronic instrument & ensemble,
Tan go zando 3 for wind electronic instrument and string orchestra, and Esculturas para
tocar for acoustic guitar, electric guitar and wind controlled synthesizer, all in 1998; Pinturas
para tocar for electronics, Hulasa for live electronics, Tunes for instrumental ensemble and
computer, Drawing Music 4 for voice, piano, computer and digital drawing projection,
Czekam na odpowic, text by W. Szymborska, for actress, computer and live electronics,
Electronic songs for electronic instruments, Varyasyonlar 2 for wind electronic instrument
and computer, Wiersze na flet, interactive piece for flute and computer, Son sin marimba,
interactive piece for percussion and computer, all nine works in 1999; Mam bo chce, by Fiore
and Prado, for flute, electronic wind instrument and digitizer, Visual el. songs II for CD,
flute, electronic wind instrument, computer and digital image projection, Son de luz for
digitizer and electronic wind instrument, Hombre del río for processed acoustics instruments
and film projection, Argumentum ex cracoviensi for CD, SdU Fragments (el marimbon) for
marimba and electronics, Drawing Impro for acoustics instruments, computer and digital
drawing projection; Open Head Impro for processed open head of a flute and voice, all eight
pieces in 2000; Remixed moments for loudspeakers and interactive processed noises, Ga,
Gam, Games for live electronics, flute and percussion, Kompozycja na flet i komputer for
flute, computer and digitizer, Procesiòn for wind controller, computer and percussion,
Accents for computer controlled by a wind instruments & percussion, Musica Ritual for flute,
computer, digitized movements & percussion, Wariacje na Liber tema Tango, by Markova
and Fiore, for digitizer, computer and moving performance, and Songo R for wind controller
computer and percussion, all eight pieces in 2001; Lux sonoris for digitizer, computer and
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dancer performance, Juego de niños, text by S.Carden, for voice, computer and digitized
movements, Eclosion for oboe, percussion, piano, double bass, flute and interactive computer
system, Frozen motives for wind controller and interactive computer system including old
friends playing, all four works in 2002.
Fiore lives at present in Poland.
Michael Rosas Cobian (born in Buenos Aires, 1953) composed among other works: Rumbos
for tape, and Anaconda for flute and tape, both in 1990; Womb (etudes) for tape, and Urbis
#2 (passing moments/riffs & raffs) for bass clarinet and tape, both in 1991; Urbis #3 for
electric guitar, live electronics and tape in 1992; Lucero for charango and tape in 1993; Urbis
#4 for tape, and Gato’s Raid for marimba and tape, both in 1994. Rosas Cobian lives in
England.
Fernando Maglia (born in Bahía Blanca, 1954), composer and concert guitarist, has been
working with electroacoustic media in his last works, among them: Otras etnias for
harpsichord and (computer) processed sounds; Siete veces siete for guitar and (computer)
processed sounds; and La edad de la luz for B flat clarinet, percussion and (computer)
processed sounds; all pieces 2002.
Eduardo Kacheli (born in 1954) composed, among other works: La rueda del tiempo,
realized at his personal studio in 1998; and El viaje de Ulises for tape in 2000. He is Assistant
Professor of Composition at the Electroacoustic Music career of the National University of
Quilmes.
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Eduardo Schlatter (born in 1954) composed Estero-Tipos for percussion and tape between
1983 and 1984; and Glamour for tape and voice, based on a poem by Oliverio Girondo, in
1988.
Teodoro Cromberg (born in Buenos Aires, 1955) composed Arco voltaico for cello and tape
in 1994; Marimbagenes for marimba and tape; and Añoranza de lo dionisíaco.
Pablo Di Liscia (born in Santa Rosa, 1955) is Director of the Program in Electronic
Composition, and Professor of Electronic Composition and Computer Music at Quilmes
National University.
Among other works he composed: Diálogo con mi anciano for guitar and tape in 1989; Alma
de las Orquestas for tape in 1993; Tiempos magnéticos for flute, piano and electronic sounds
in 1996; and Prólogos for tape in 2002.
About Tiempos magnéticos (Magnetic times) Di Liscia wrote:
This composition explores a continuum going from the perception of a series of short
pieces to the perception of one piece divided in several sections. The dialog between
instruments and electronic sounds is stated as the main feature to shape the macro
and micro-form, and it uses several possibilities of combination and ways of linking.
[…] The electronic music fixed on magnetic media (tape music) is often overlooked
at present because its apparent lack of flexibility. The combination of instrumental
and electronic media provides one important basis to overcome this limitation.
Instead of making the electronic media to imitate instrumental behavior, this piece
keeps for each media its own "performance time" and state a dialectics between
these. This is what the title Magnetic times stand for.
Stanford University (1996-2000). Klub Karma archive. [online] Address:

http://ccrma.stanford.edu/events/klub.html#tm
Di Liscia has been also developing software for digital signal processing, musical analysis,
and composition.
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Pablo Furman (born in Buenos Aires, 1955) emigrated to the United States in 1976. He
currently teaches composition, music theory, electro-acoustic music, music of Latin America,
and coordinates the music composition program at San Jose State University in California,
United States. As composer, his research has focused on specific aspects of precompositional
activity such as sound spectral analysis (and development of new instrumental color), pitch
material development, and structural optimization.
Among other works he composed Synergy for amplified flutes and electronics in 1989; Strata
- An Imaginary Landscape in 1990’ Sureña for amplified violin and electronics in 1993; and
Music for alto saxophone and electronics in 1995; Concerto for Ensemble and Electronics
and Matices Coincidentes for quartet and electronics, both in 2000; among other works. He
lives in the United States.
Ricardo Palazzo (born in 1955) composed Tres piezas para flauta y sonidos electrónicos in
1982; and Omaggio for violin, clarinet, piano and electronic sounds in 1985.
Ricardo Ventura (born in 1955) composed Desnudo de mujer sobre sofá azul in 1999.
Daniel Zimbaldo (born in 1955) composed Naturaleza muerta in 1984; and La llave de
cristal for tape in 1994. He lives in Spain.
Elena Buiani (born in 1956) composed the electroacoustic piece: Alerta, Peligro … Planeta
Azul.
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Alberto Perduca (born in 1956) composed Con el resto in 1991 at LIPM.
Luis Mucillo (born in 1956) composed Isla de Cristal in 1982, and Au dela des portes
d’ivoire in 1984, both for electronic sounds.
Fernando López Lezcano (born in Buenos Aires, 1956) started working with electroacoustic
music by building his own analog studio and synthesizers around 1976.
Among other works, López-Lezcano composed: Búsqueda for tape in 1986; Hot'n Cold for
stereo tape in 1991; Three Dreams for quadraphonic tape in 1993; Espresso Machine II for
electronic cello, MIDI controlled synthesizers and PadMaster (controlled by a Radio Drum),
between 1993 and 1995; Knock knock... anybody there? for quadraphonic tape in 1994; With
Room to Grow for MIDI controlled instruments and PadMaster in 1996; House of Mirrors for
MIDI controlled instruments, soundfile playback and PadMaster between 1996 and 1997.
About House of Mirrors he wrote:
[…] Is an improvisational tour through a musical form and a four channel sound
environment ... The sound of doors opening and closing define the transitions
between rooms, corridors and open spaces, where soundfile playback and MIDI
controlled synthesis mix to create different atmospheres sharing a common thread of
pitches, intensities and timbres. The journey through the House of Mirrors is
controlled in real time through an interactive improvisation software package -
PadMaster - developed by the composer over the past three years. The Mathews/Boie
Radio Drum is the three dimensional controller that conveys the performer's gestures
to PadMaster. The surface of the Radio Drum is split by PadMaster into virtual pads,
each one individually programmable to react to baton hits and gestures, each one a
small part of the musical puzzle that unravels through the performance. Hits can play
soundfiles, notes, phrases or can create or destroy musical performers. Each active
pad is always "listening" to the position of the batons in 3D space and translating the
movements (if programmed to do so) into MIDI continuous control messages that are
merged with the stream of notes being played. The virtual pads are arranged in sets or
scenes that represent sections of the piece. As it unfolds, the behavior of the surface
is constantly redefined by the performer, as he moves through the predefined scenes.
The performance of "House of Mirrors" oscillates between the rigid world of
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determinism as represented by the scores or soundfiles contained in each pad, and the
freedom of improvisation the performer / composer has in arranging those tiles of
music in time and space.
López Lezcano, F. (undated). Recent compositions. [online] Address:

http://ccrma.stanford.edu/~nando/music/
He lives in the United States, working at CCRMA - Center for Computer Research in Music
and Acoustics of Stanford University as Lecturer and Systems Administrator.
Miguel Calzón (born in Buenos Aires, 1956) composed Three Winters for clarinet, cello and
electronic sounds in 1991; La vida perdurable for tape in 1993, realized at his personal studio
with Yamaha SY77 and TG77 synthesizers controlled by MIDI; and El tamaño del mundo
for tape in 1994.
Carlos Grätzer (born in Buenos Aires, 1956) received his musical training from his father,
composer Guillermo Graetzer (born in Austria; emigrated to Argentina in 1939), one of the
main names in musical education and composition teaching during the second half of the XX
century in Argentina.
For a few years Carlos Grätzer worked both in the animated films making and music field;
and since 1980 he devoted exclusively to music composition. In 1984 he moved to Paris
where he is living at present.
Among other works, Grätzer composed: Nio Aeln for tape in 1989; Failles Fluorescentes for
alto sax and electroacoustics in 1990; D'un souffle retrouvé for flute and electroacoustics
during 1992-1993; Ráfagas de tiempo in 1994, and Ausbruch in 1997, both pieces for tape.
Pablo Ortiz (born in Buenos Aires, 1956) composed among other works: Two studies for
DX7, for tape, 1986; Ciego como una cebolla for oboe, bass clarinet, trumpet, marimba and
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DX7, 1990; and Júbilo Secreto for violin and tape, 1995. He lives in the United States and
teaches at UCD - University of Califonia, Davis.
Osvaldo Vázquez (born in Buenos Aires, 1956) composed among other works: Estudio
electrónico and Fragmentos para Leonin ´85, both realized at LIPM, in Buenos Aires;
Fragmentos..... ´86; SONS and Haiku for digitized voices and electronic sounds.
Claudio Alsuyet (born in Florida, Buenos Aires, 1957) composed Máquina de Estampillar
for tape in 1990; Solo Saxo Barítono for sax and live electronics in 1991; Cellci for cello and
tape between 1993 and 1994; 7 Pos-tales for mezzo-soprano, eight voices with
electroacoustic live processing, piccolo, flute, clarinet, bass clarinet, French horn, violin,
cello, piano and percussion between 1994 and 1995; and Eternidad for voices and tape in
2002; among other works.
Ricardo Dal Farra (born in Buenos Aires, 1957) has been conducting activities in the
merging fields of arts, sciences and new technologies for more than 25 years as composer,
multimedia artist, educator, researcher, performer and curator.
His music has been played in concerts and symposiums in more than 40 countries and has
been recorded in 15 different editions. He has also performed using live interactive systems
since the late 70s. Dal Farra's work has been distinguished with grants and commissions by
the International Computer Music Association, the International Arts Biennial of San Pablo,
Brazil, the National Endowment for the Arts from Argentina, the Concours international de
musique électroacoustique de Bourges - France, the National Rostrum of Composers from
Argentina, and the Centro di Sonologia Computazionale from the University of Padua in
Italy, among others. He has been invited to present his music, research and educational
developments at CCRMA - Stanford University, New York University, Dartmouth College,
The Julliard School of Music and Brooklyn College in the United States, the University of
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Brasilia and Itaú Cultural in Brazil, The National Conservatory of Music of La Paz in
Bolivia, the University of Puerto Rico, IRCAM and GRM in France, and The Banff Centre in
Canada, among other institutions.
After some early works created during the 70s, mostly involving live electronics, Dal Farra
composed: Estudio sobre un ataque de timbal, Estudio sobre fragmentación del material and
Estudio sobre ritmo y espacio, all three works for tape, in 1982; Audiciones for tape, and
Estudio elíptico for live electronics, both in 1983; Música para Hall for guitar and live
electronics in 1984, with Carlos Costa; Primer instante for tape in 1985; Double, Toccata,
Clones, PH and Integrados, all for guitar and live electronics, with Arturo Gervasoni;
Ancestros for ancient woodwinds from the Andes and live electronics, Karma for tape,
realized at the Center for Computer Research in Music and Acoustics (CCRMA) of Stanford
University, United States, and Procesos, also for tape, all eight works in 1986; G for MIDI
guitar, digital synthesizer and live electroacoustic processing, and Hay alguien ahi fuera con
quien hablar? for guitar and live electronics, both with A. Gervasoni, and Para todos ellos
for MIDI guitar, digital synthesizer, live electronics and slides, all three in 1987; …due giorni
dopo for tape, realized at Centro di Sonologia Computazionale, Università di Padova, Italy,
and Uhuru for MIDI guitar, digital synthesizer and live electroacoustic processing,
collaboration with A. Gervasoni, both in 1988; SP4 for live electronics or tape, Xastock for
tenor sax and live electronics, EGT for guitar and live electronics, and Come'n Go for
komungo and live electronics, all four works in 1989; Tramas for small orchestra and live
electronics, and Interacciones, first piece performed in Argentina using real time interactive
computer generated sounds and images, both pieces in 1990; Disolución IV for guitar and live
electronics, with A. Gervasoni, Ashram for mukha veena and tape or live electronics, and
Furioso for oboe and live electronics, with León Biriotti, all three pieces in 1991; Teragon
for a live/interactive computer music system, and Memorias for tape, realized at CCRMA,
Stanford University, both in 1992; Mel18 for live/interactive computer music system, in
1994; Breve Vida for tape in 1995; Tierra y Sol for CD in 1996; Words through the Worlds
for CD in 1997; On the Liquid Edge, sound installation, in 1998; Homotecia, original version
for bandoneon and CD in 1992, version for flute or oboe and CD in 1994, version for guitar
or piano and CD in 1995, version for string quartet and CD in 2001, version for small
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ensemble and CD in 2002, version for marimba and CD in 2003 and version for violin and
CD in 2004; "Con.mocion", sound+images installation, in 2002; Civilizaciones for 6
percussionists with optional live electronics, original version dated 1983, revised in 2000, and
new version with extended live electroacoustic sound processing and multichannel spatial
distribution in 2003; and Liquid Mountains for e-drink, in 2004; among other works. Most of
these pieces were realized at the Estudio de Música Electroacústica (Electroacoustic Music
Studio) founded by Dal Farra in Buenos Aires during the mid 70s.
Dal Farra has been professor of Music Technology at National University of Tres de Febrero;
Professor of Acoustics at the National Conservatory of Music and Professor of
Electroacoustics at Buenos Aires Municipal Music Conservatory. Former Professor of
Composition and Improvisation at the National University of San Martin; Professor of
Multimedia at IMD Institute and ORT Technical School, and Professor of Music and Sound
on Films at the Art Panamerican School.
As Coordinator of the Multimedia Communication Area at Argentina's National Ministry of

Education, Science and Technology (1996 - 2003) he was directing the team that developed
national standards for multimedia education, as well as standards for the sound and music,
graphic, audiovisual and image synthesis sectors, approved at the national level too. Dal
Farra co-designed and developed educational programs focused on contemporary arts,
sciences and new technologies at the secondary, college and universitary level; among them:
the Musical Production specialty at ORT Technical School and the Electronic Arts bachelor
at the National University of Tres de Febrero, among others.
He has been Consultant/Director of Musical Production specialty at ORT Technical School -

Buenos Aires (1992 - 1999) and Director of the Electroacoustic Music Studio (1978 - 2003).
He is also appointee Director of the Electronic Arts Experimental and Research Center
(CEIArtE) - Buenos Aires (since 2002), and Researcher/Consultant for UNESCO's Digi-Arts
worldwide project (since 2002).
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Dal Farra has been directing radio series devoted to electroacoustic music at the National
Radio of Argentina and the Municipal Radio of Buenos Aires for more than 10 years. He is a
member of the Board of Advisory Editors of the Journal of New Music Research since 1988,
and International Editor for Leonardo Music Journal - International Society for the Arts,
Sciences and Technology since 1995. He is also a fellow of Colegio de Compositores
Latinoamericanos de Música de Arte.
As researcher, Dal Farra is the author of Historical Aspects of Electroacoustic Music in Latin
America. From the pioneering to the present days and La música electroacústica en América
Latina, both texts commissioned by UNESCO. He developed during 2003-2005 the Latin
American Electroacoustic Music Collection (with recordings from his personal collection) at
La fondation Daniel Langlois pour l’art, la science et la technologie. He also wrote
extensively about new media arts, electroacoustic music and education in the confluence of
the arts, sciences and technology.
Ricardo De Armas (born in 1957), composer, sound designer and cellist, composed among
other works: Pequeños diseños sonoros in 2000; Visage and Escenas algorítmicas in 2001;
Sin título, Objetos y diseños breves, 011220 and La noche en que los bits se convirtieron en
alondras in 2002; and the multimedia piece El niño de los potes perfumados in 2003.
Juan Carlos Figueiras (born in Buenos Aires, 1957) composed Antiguo y perpetuo for sax
and tape in 1993; Canción guerrera for sax, flute and tape in 1994, realized at LIPM, Buenos
Aires; Barlovento for chamber group and interactive system in 1996; Planos for tape, also in
1996; and Riesgo permanente for flute, oboe, bass clarinet, piano, vibraphone and electronic
sounds in 2002.
Claudio Lluán (born in Rosario, 1957) composed Vestigios for tape, and Antiguas preguntas
for female voice, 8 instrumental groups and electronic sounds in 1991.
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Gabriel Valverde (born in Buenos Aires, 1957) composed Una música, un rumor, un
símbolo for tape in 1984, realized at GMEB in Bourges, France; Ekstasis in 1985 and
Cúmulos in 1988, both works realized at LIPM; Terra Incognita between 1992-1997 for
string trio and computer generated sounds. He is co-founder and director of CEAMC - Centro
de Estudios Avanzados en Música Contemporánea (Center for Advanced Studies in
Contemporary Music).
Marcelo Ajubita (born in Venado Tuerto, 1958) composed Ambientes infectados for tape in
1994.
Miguel Bellusci (born in Buenos Aires, 1958) composed among other pieces: Kölnisch
Wasser, an electronic composition based on water sounds realized at the Musikhochschule in
Cologne, Germany, between 1993 and 1994; Laura en sueños for glass instruments and
electronic; Inconsenquenza for soprano and tape; and Unzeiten for 7 female voices, 3
trombones and tape. He lives in Germany.
María Eugenia Luc (born in 1958) composed Standard for electronic sounds in 1988;
Estudio electrónico II for electroacoustic media in 1991; Dao for electroacoustics and video
in 2002, with Juan Crego (video); Sâma for electroacoustics, violin, dance and video in 2003,
with Josu Rekalde (video) and Idoia Zabaleta (dance); and La ciudad Infinita for
electroacoustics, dance and video in 2004, with Juan Crego (video) and Idoia Zabaleta
(dance). She also composed Centauros II for piano and electroacoustics.
Sergio Fidemraizer (born in 1958) composed Recorda-Te’ N for tape in 1994.

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Carlos Cerana (born in Buenos Aires, 1958) composed Huellas digitales for clarinet and
tape in 1991; Tres piezas breves for clarinet and live processings; and Carrefour for tape,
realized at LIPM, Buenos Aires, in 1996.
Gerardo Dirié (born in Córdoba, 1958) composed Tu casa o este océano in 1990; and El
sueño de la mula negra for voice, viola, electric viola, flute and electronic wind instrument
(EWI). He lives in the United States.
David Horta (born in Buenos Aires, 1958) composed Siete elementos for tape in 1992; and
Paradiddles for drums and tape in 1994.
Edgardo Martinez (born in 1958) composed among other works: Vino nuevo en odres viejos
in 1993, realized at his personal studio and EFME in Santa Fe, Argentina; Movimientos
urbanos in 1994; Escenarios Diferentes and Piano para pieza, both in 1995, all pieces for
tape. He also composed Puelpürum in 2002.
Martín Matalón (born in Buenos Aires, 1958) composed among other works: La rosa
profunda, music for a Jorge Luis Borges exhibition at the Public Information Library of
Georges Pompidou Center in Paris, in 1992; Monedas de Hierro for ten instruments and
electronics in 1993; Metropolis, music for the film by Fritz Lang, for 16 instruments and
electronics in 1995; Le tunnel sous l’Atlantique for tape, also in 1995; Las siete vidas de un
gato, music for the film Un perro andaluz by Luis Buñuel, for eight musicians and
electronics (flute, clarinet, trumpet, two percussionists, piano, violin, cello and tape) in 1996;
Rugged lines memos for nine instruments (flute, clarinet, bass clarinet, sax, trumpet, 2
percussionists, piano and double bass) and electronics in 1999; and Traces I for cello solo
and live electronics in 2004.
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Luis Mihovilcevic (born 1958) composed, among other works: Adagio expansivo for
synthesized strings in 1989; Las obsesiones de Pierre Delval, first obsession for tape only,
second obesssion for tape and piano, third obession for tape, cello, soprano and piano, in
1993; Violeta, Ensueño Alquímico de una Flor silvestre, opera for soprano and tape, between
1993 and 1994; La Ira de Fassbinder for tape in 1993; Síntesis en cuatro sueños for piano
and tape in 1994; La pequeña lulu for piano, percussion and synthesizers, Arcano 72 and
Arcano 82, both for tape, all three pieces in 1995; Una esquina de la eternidad for electronic
instruments, and Pérez Molek Austellung mit roth for tape, both in 1997; El radar de
Tasmania (a Andrei Tarkovski), version one for tape only, and Pidamos lo imposible for tape
and actor, both in 1998; Pour le Piano (Fin de siglo ), for digital piano controlled by a
computer sequence, and Scatt for tape, both in 1999; Mayo for tape, Coyoacan, versions for
tape only, tape and piano, tape and vibraphone, La Gran Lalula, musical theatre with tape,
actors and live intruments, and La Máquina surrealista for electronic instruments, all four
works in 2000, BIG BANG for tape in 2001; Verano Argentino for tape between 2001 and
2002; Las Jornadas de diciembre for tape, between 2001 and 2003.
Daniel Miraglia (born in Buenos Aires, 1958) composed Mona Lisa acelerada in 1996;
Metamorfosis for electronic sounds in 1997-1998; Presencias Reales for electronic sounds in
2000; also MXWV for tape, and Voces for tape and synthesizers, among other works.
Guillermo Pozzati (born in Buenos Aires, 1958) composed El adiós for tape in 1990, and
Stanford in 1992, both for tape. Among his developments and writings: Gen: A Lisp Music
Environment, published in Computer Music Journal Vol. 24 No. 3, 2000, The MIT Press,
United States.
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Cecilia Candia (born in Avellaneda, Buenos Aires, 1959) composed among other works:
Tintas for oboe and tape in 1991; Del Big-Bang a la Torre de Babel for piano and tape in
1996; El círculo de piedra, with Ana Foutel, for piano and tape in 1997; and the music on
tape for the musical theatre Ecos del proceso sonoro de K, for instruments and tape, a piece
she directed in 2000. All tapes were realized by Candia in his personal studio in Buenos
Aires, except that for Tintas, realized in a recording studio in Rome, Italy.
Candia was also part of the experimental group Compañía de Música Imaginaria, with
Myriam Belfer, Javier Mariani, Ana Foutel, Miguel Luchilo, Alejndro Labastía and Marcelo
Cavalli, that performed and recorded improvised pieces like: ID2 for oboe, clarinet, piano,
EPS and K2000; Köchenseq for recorder, sampler delay, EPS and K2000; Pieza 1 - 1993 for
three EPS; Trío for piano, clarinet and Poly 800; ID3 for voice, clarinet, EPS and K2000; and
Mininga for voice, EPS and two K2000; among other works.
Javier Leichman (born in Buenos Aires, 1959) composed Veranito for tape in 1992; and
Mía, mía for tape in 1994.
Sergio Poblete (born in Córdoba, 1959) is Professor of Electroacoustic Techniques and

Materials at the School of Arts, National University of Córdoba. Since 1992 he is also in
charge of the Laboratorio de Electroacústica e Informática Musical (Computer and
Electroacoustic Music Laboratory) at the same School.
Among other works Poblete composed: Sonus for tape in 1990; Strings for string quartet and
tape in 1991; Los pliegues del cielo for tape in 1996, based on computer processed flute,
Polynesian’s angklang and digital synthesizer sounds; and Huellas de fuego for computer
processed clarinet, trompe (Mapuche’s mouth harp) and Yamaha TG-77 digital synthesizer in
1997; all works realized at the Computer and Electroacoustic Music Laboratory of the School
of Arts of Cordoba’s National University. In 1998 he composed Dharma, and in 1999
Actions, both tape pieces realized in his personal studio and Phonos-IUA, at Pompeu Fabra
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University in Barcelona, Spain. In 2001 Poblete revised Actions that turned then to Actions V,
premiered in Cordoba with the Cybernephone 6, using 100 loudspeakers. He composed in
2002 Correspondencias for sax, percussion, electroacoustics and computer animated images.
Some of his writings are: Medios analógicos y digitales utilizados en la música

electroacústica (Analog and Digital Media in Electroacoustic Music), and Diseño de objetos
sonoros mediante técnicas de síntesis y procesamiento digital de señales. Control
algorítmico de los eventos (Sound objects design through synthesis and digital signal
processing techniques - Algorithmic control of events), both dated 1998; and La Música
electroacústica en relación al pensamiento sobre el arte contemporáneo (Electroacoustic
music and contemporary art thinking), dated 2001.
Jorge Sad (born in Buenos Aires, 1959) is Professor at the Electroacoustic Music Atelier of
Alberto Ginastera Conservatory, and since 1997, Director of IIESMUMD - Instituto de
Investigación Experimental en Sonido y Música por Medios Digitales de la Facultad de
Informática de la Universidad de Morón (Digital Sound and Music Experimental Research
Institute at University of Morón).
Among other works Sad composed: Hara in 1986; Los giros del alma del toro in 1989; Tonal
Nagual in 1990; El libro de los seres imaginarios for computer generated tape, realized at
Montreal University in 1992; Il codice assente for clarinet, flute, electric guitar and
synthesizer in 1994; Vox I and Vox II, both for computer generated tape, realized at CCRMA,
Stanford University, United States, in 1995; Klang/Clan for 4 instrument and tape in 1996;
Aspavientos for computer generated sounds on tape in 1998, realized at IIESMUMD; La ida
hacia abajo de la tierra de la tarde for flute and live electronics in 1999; Improvisación for 4
instruments and live electronics in 2000; and Escrita...al borde del mar in 2001. He also
composed El alma mula for cello and live electronics.
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Since 1995 Sad is directing the Colectivo de Creación Sonora (Sound Creation Collective) a
group of musicians with who he produced a series of works for acoustic instruments and live
electronics.
Sergio Schmilovich (born in Buenos Aires, 1959; he recently turned his artistic name to
Smilovich) is composer, flutist and sound engineer.
Among other works he composed: La confesión for tape in 1990, Memorias del poeta for
tape, based on a text by poet Pablo Neruda, in 1992, Mare Nostrum III for flute and tape,
including the processed voice of Arab singer Amal Murkus on the tape part, and Danzas,
both in 1993, all four tape pieces realized at the laboratory of the University of Tel Aviv,
Israel; Oktubre for tape in 1998, an hommage to Che Guevara based on texts he wrote during
his last days in Bolivia, realized at Estudios Grial in Buenos Aires; Cuarto Paraíso for tape
and Otoño (five hours of electroacoustic music!) in 2000; Evolución for tape and Evolución
para contrafagot y cinta for double bassoon and tape, both in 2001; Lacrimosa a Salvador
Dalí for tape in 1989, new remixed version 2003; and Fantasía para arpas for tape, also
2003, using sound materials recorded at the University of Tel Aviv during 1993.
Schmilovich moved to Montreal in 2003.
Juan Ortiz de Zárate (born in Buenos Aires, 1959) composed A Christmas Carol for flute,
clarinet, violin, cello, mezzo-soprano, piano, 2 percussionists and electroacoustics in 1998.
Pablo Cetta (born in Buenos Aires, 1960) studied engineering and music. He was Director of
the Laboratory of the Centro de Investigación Musical of the University of Buenos Aires
between 1989 and 1991; and since 1988 Director of Centro de Estudios Electroacústicos at
UCA - Catholic University of Argentina.
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Cetta has been teaching in several institutions, including University of Buenos Aires between
1988 and 1991, the National Conservatory of Music between 1991 and 1992, the National
University of Quilmes between 1991 and 1994, Centro de Estudios Avanzados de Música
Contemporánea between 1995 and 2001, and Escuela Nacional de Experimentación y
Realización Cinematográfica since 2002. He is Professor of Contemporary Music Analysis
and Electroacoustic Music Composition at the Musical Arts and Sciences Faculty of
Argentine Catholic University (Facultad de Artes y Ciencias Musicales de la Universidad
Católica Argentina, FACM - UCA) since 1994.
Among other pieces Cetta composed: Bosco: jardín al compás del deseo for tape in 1991,
realized at LIPM; ... que me hiciste mal... for tape in 1992, realized at Center for Music
Experiment in UCSD, San Diego, United States; En esta calle for tape in 1993, realized at
LIEM - Laboratorio de Informática y Electrónica Musical in Madrid, Spain; Todo se vuelve
presagio for Disklavier, MIDI keyboard and computer, and ... y sin embargo te quiero... for
tape, both pieces in 1996; Como ausente for piano and electronic sounds, realized at Centro
de Estudios Electroacústicos FACM-UCA, Catholic University of Argentina, and Todo se
vuelve presagio 2 for piano, recorded piano and electronic sounds, realized at Centro de
Estudios Electroacústicos FACM-UCA, bith in 1998; Cómo explicar el rojo, version for
clarinet and electronic sounds, realized at Laboratorio de Informática y Electrónica Musical,
Madrid, in 1999; Cómo explicar el rojo version for alto saxophone and electronic sounds in
2000; and En la oscuridad for bass clarinet and real time sound processing in 2002.
Cetta started his activities as researcher in 1987. Some of his recent research projects were:
Estructuración del timbre en la música de cámara (Timbre structuralization in chamber
music), involving musical analysis, notation, performance and composition; and Un modelo
para la simulación del Espacio en Música (A model for simulation of Space in Music),
focusing on the development of programs for spatial localization of sound using the HRTF
(Head Related Transfer Functions) technique applied to the composition of chamber music
with electronic sounds. More references about the activities of Dr. Cetta as researcher could
be found in chapter VIII, section 8.2 Recent research.
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Alejandro Iglesias Rossi (born in Buenos Aires, 1960) has been composing several works
using electroacoustic media during the last years. Some of his works are: Legüeras soledades
for sax and sampler, 1989; Bagual oscuro for djembé and live electronics, 1991; Angelus,
1996, Ascención (Las Tierras Nuevas), 1998, and Tres Epístolas (del secreto de las alas
ocultas a la luz del sol de medianoche), 2000, all three works for tape.
Angelus has been awarded the First Prize of the International Rostrum of Electroacoustic
Music (Amsterdam 1996) organized by the International Music Council of the UNESCO.
Iglesias Rossi wrote about this piece:
The hebrew word MALAJ, as well as the latin word ANGELUS, generally translated
as ‘messenger’, describe entities that have been one of the key concepts of biblical
thinking. A mystic judeo-christian tradition has seen on those entities the laws, the
numbers, the ‘ideas’ (in the platonic sense), ‘masses of knowledge’ that are the
constitutive principles of the Universe. Even being prototypes, or protoanalogies,
they are living and conscious beings that communicate with men. Taking as subject of
contemplation the Vision of Prophet Ezekiel, this tradition concluded that the two key
ways by which the ‘messengers’ communicate with men are the analytic science,
represented by the wheels of the ‘Merkabá’ (the Carriage of God), and the artistic
vision, symbolised by the Four Livings with faces of eagle, bull, lion and man. The
biblical images on which is based this piece are Ezekiel 1, St.Luke 1, 26-28 and
Apocalypse 12.
Iglesias Rossi, A. (2003). Program Notes. [personal communication].
Luis María Rojas (born in Bolivar, 1960) is researcher, musical software developer and
composer.
Some of his pieces are: Juego con Dados for computer and string trio, 1996; Iluminado por la
duda for tape, 1997; La cacerola ballet music on tape, 1998; Dos visiones apresuradas de la
misma cosa - part I, electronic music on tape, 1998; Variaciones negras for sopran sax and
computer, 1999; Elefante for video and real time digital sound processing, 2000; Música
desilusionada for soprano sax, cello, double bass, three computers and video projection, with
images by Laura Rojas, 2001; and c3seg for string quartet and video game, 2003.
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Rojas developed Texture 3.0, a compositional tool that “generates musical information by
stochastic means” (Rojas, L. M. 2003. Personal communication); and SMSrt, a Xavier Serra’
SMS based software.
Rojas is teaching Electroacoustic Media at the Musical Conservatory of Bahia Blanca,

Argentina.
More references on Rojas’ research projects could be found in chapter VIII, section 8.2
Recent research.
Mario Verandi (born in San Nicolás, Buenos Aires, 1960) composed Figuras Flamencas for
tape, realized at the Electroacoustic Music Studios at Birmingham University in U.K.; The
peak that flew from afar, installation, objects and tape in 1992; The ten thousand things
installation, objects and tape in 1994; Web Composition in 1995; A Tear on the Desert,
Dancescape and Heartbreaker in 1996; Faces & Intensities in 1997. He is living in England.
Javier Garavaglia (born in Buenos Aires, 1960) composed among other works: AM STEG
(Spaces) for stereo tape between 1993 and 1996; pizz for quadraphonic tape in 1993;
Gegensätze (gegenseitig) for alto flute (G), quadraphonic tape and live-electronics in 1994;
Arte Poética (I) and Arte Poética (II. Stanza), both works for quadraphonic tape and based on
the poem Arte poética by Jorge Luis Borges, in 1995; Spectral Colours for ensemble and
tape, Arte Poética (stanzas III to VII) for quadraphonic tape, and Contraries (resonances) for
alto flute, quadraphonic tape and live-electronics, in 1996; T.A.T (a man’s life) for four tracks
tape, viola, bass-clarinet and live-electronics, during 1997-1998; COLOR-CODE, music for
the concert-installation Color Code, for four tracks tape, viola, live-electronics (using
Max/MSP) and computer generated graphics on two canvas, in 1998; Poppekstive for 8
tracks tape in 1999; NUANCES for orchestra and electronics, and GRANULAR GONG for
eight tracks tape, both in 2000; INTERZONES (A/E-B) for accordion, electric bass and six
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tracks tape in 2001; INTERZONES (A/E-B), second version, for piano, double bass and
electronics during 2001-2002; and NINTH music for viola and computer, in 2002.
He was living in Germany during the 90s and is now teaching in the U.K.
Ezequiel Viñao (born in Buenos Aires, 1960) composed La noche de las noches for string
quartet and tape in 1987; El Simurgh (Book I) for piano and computer in 1991; and The
Simurgh (Book II) for violin and computer in 1992. He lives in the United States.
Mario Mary (born in Buenos Aires, 1961) graduated in composition at National University
of La Plata, Argentina. Since 1992 he continued his studies in Paris at GRM, the Music
Conservatory of Paris, IRCAM and the University of Paris VIII, from which he received his
doctoral degree in Aesthetic, Science and Technology of Arts.
While working at IRCAM in 1995 he realized the AudioSculpt Cross-Synthesis Handbook.
His music has been distinguished with first prizes in several international competitions of
electroacoustic music, as for example: Luigi Russolo, Italy, 1994; Pierre Schaeffer, France,
1998; TRIME, Argentina, 1998 and 2001, Musica Nova, Czech Republic, 2002; and Bourges
2003.
Mario Mary composed, among other works: Doble Mensaje in 1989, and Endorfina in 1990,
both pieces for tape; Cohesión for French horn, violin, double bass and tape in 1991; De
l'autre côté du silence for tape, realized at the Music Conservatory of Paris in 1993; Timbres
partiels for flutes, clarinets, cellos, percussion and live electronics, realized at IRCAM in
1994; Noch dazu for guitar and computer, realized at Elac, Austria, in 1995; Portraits
témoins for 8 channels tape, in 1997, commissioned by GRM; Objets croisés II for cello and
tape in 1998; Aarhus for violin and tape, realized at DIEM, Denmark, in 2000; La corde
cachée for guitar and tape, realized at Paris VIII University in 2003; and Signes émergents,
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electroacoustic piece on 8 tracks, commissioned by GRM. This last piece has two parts:
Haulie, composed in 2002, and Bouge, bouge! in 2003, which could also be played as
independent works.
Since 1996 Mario Mary is teaching Sound Synthesis and DSP at Paris VIII University. He
also started an annual Computer Music Concert Series in Paris in 1998.
Ricardo Nillni (born in Buenos Aires, 1960) composed among other works: Sonambula for
tape in 1987; Entropogel for tape in 1988; Gaps for G flute and tape in 1990; Mnèse for 12
instruments and computer in 1991; Veladuras for tape in 1993; Autour des Tores for bass
clarinet and tape in 1995; and On swings and folds for tape in 1999. He lives in France.
Gonzalo Biffarella (born in Sancti Spiritu, Santa Fe, 1961) composed: Matacos for tape in
1991, realized at his personal studio; Mestizaje for tape, between 1993 and 1994, realized at
LIPM in Buenos Aires; Rastros for tape in 1996, realized at his personal studio in Córdoba
and LIPM; Homenaje a E.C. for two guitars and tape in 1994; Plegaria for tape, realized at
Bourges, France, and La Rue de la Cage Verte for guitar and tape, both in 1995; Los Siete
Espejos in 1999; Entre 2 mundos, for cello and digital media, in 2000.
Luis Naón (born in 1961) composed several pieces working with electroacoustic media,
among them: Reflejos… for clarinet, French horn, cello and 2 synthesizers in 1985;
Locomotoras for tape in 1989; Muertango for clarinet and tape in 1988; Declives for tuba,
percussion and electronic system in 1992; Macristalhias for violin and tape, Sikureada
múltiple for 2 sikus, synthesizer, cello and vibraphone, and Ka, cinco poemas musicales for
violin, cello clarinet, French Horn, percussion and 2 synthesizers, all three pieces in 1993; La
esfera y la piedra for tape in 1994; Claustrum for percussion and tape between 1996 and
1997; Urbana for accordion, percussion and live electronics, and Lascaux Urbana,
electroacoustic music on eight tracks tape, between 1997 and 1998; Méta-Urbana for real
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time system, meta MIDI instruments and sound spatialization in 1999; Lettre inachevée for
vibraphone and live electronics; and Tango del Desamparo for piano, cello and tape. He lives
in France.
Arturo Gervasoni (born in 1962), composer, guitar performer and educator, graduated in
Musical Composition at National University of Córdoba.
He composed several pieces for guitar and electroacoustic processings in collaboration with
Ricardo Dal Farra during the 80s. Some of these works are: Música para Hall II, 1985;
Integrados, PH, Double, Toccata and Clones, all pieces 1986; Hay alguien ahi fuera con
quien hablar?, 1987; and Disolución IV, 1991. Also in collaboration with Dal Farra he
composed G in 1987, and Uhuru in 1988, both for MIDI guitar, digital synthesizer and live
electroacoustic processings.
Living in France since 1990, Gervasoni composed several mixed pieces during the last years,
among them: Etoiles liquides for cello and tape in 1998; SSSSCHCHSS for female voice and
electronic sounds, Treize pieces pour instrument solo et bande, Cinco Piezas for child voice
and tape , Après? for choir, children choir, soloist, piano, vibraphone, marimba, percussion,
double bass and tape, all four works in 2001; L’ombre du souffle for flute and electronic
sounds between 2002 and 2003; and Circundantes en Eco for guitar and electronic sounds in
2003. He also composed D’eux, an electracoustic piece for a dance spectacle, in 2002.
Claudio Calmens (born in Bahía Blanca, 1962) have been composing and performing
experimental music, including works with electroacoustic media.
Some of his works are: Sol Freud, 1996, a literary-musical work stemming from
compositional principles of pataphysique; Gotas y Metal, an aleatoric sound piece consisting
in metal objects (vessels) drummed on by drops of water on the live stage, 1997; El Zapallo
Que Se Hizo Cosmos (The Pumpkin That Became Cosmos) also 1997, using voice processing,
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and based on a text by Macedonio Fernández; Poemus 1, 2, 3, 4, 5, composed between 1997

and 1998 for narrator and either computer or digital recording, with texts of Oliverio
Girondo; Futilidad (Futility), a story created around a phonetic game involving a single
consonant (“f”) which either occurs or predominates in the majority of the words of the text;
Sweet Vivi for electric guitar + midi, 2000; and Higer Falls, electro acoustic piece, 2001.
José Halac (born in Córdoba, 1962) composed, among other works: Invocándote for voice,
electric guitar, electric bass, synthesizers and drums, in 1986; Ritos Metálicos for voices and
tape in 1987; India vieja que pretende volverse joven chupando sangre de cóndor, and Ritos
Metálicos 3 for soprano, flutes, percussion and tape, both in 1990; India vieja, sincretismo #1
for tape, realized at Brooklyn College - Center for Computer Music, and Aplastamiento de
las Gotas for prepared piano and computer generated tape, both in 1991; Uitotos, sincretismo
#2 for string quartet and computer generated tape, Maturity, sincretismo #3 for voice, electric
viola, trombone, percussion and tape, Cafe Angel for voice and tape, and Maturity,
sincretismo #3 for voice, trombone, electric viola, drums, Jamaican flute, tape and
synthesizers, all four pieces in 1992; Ball, sincretismo #4 for trombone and tape in 1993;
Entrepieles for alto/soprano sax, piano, cello, flute, clarinet, percussion and interactive
computer systems in 1994; Todo lo que amaron nuestros ojos for tape in 1996; and The
Breaking of the Scream for CD in 1999.
About his piece The Breaking of the Scream Halac wrote:
[…] was composed based on a poem by Argentine poet Pablo Anadón, and a
baguala, a traditional folk song from the NorthWest area of Argentina. The poem,
originally in Spanish, is titled Seasons of the Tree and is centered around the idea of
the departure of the loved one and the painful remains of the sentiments no longer
recognized. The baguala describes the sexual desire of a man that calls himself an
"old tiger". These two sources merge in the piece with screams, the composer’s voice
singing and reciting the poem and the digital manipulation of all the material.
Halac, J. (2003). Program Notes. [personal communication].
Halac lives today sharing his time between New York and his natal land, Córdoba.
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Claudio Ferrari (born in Rosario, 1962) composed Tiempo blanco in 2001; and De Planos y
Lejanías.
Octavio López (born in Buenos Aires, 1962) composed The magic mirror for bass clarinet,
percussion, cello and electroacoustic system in 1996; Compenetración Iridiscente for flute,
percussion and tape in 1997; Ensaio diario de um drama for trombone, piano, percussion and
electronics in 1998; In Braque for electric harp and electronics in 1999; and Quim(h)eras for
electroacoustics and video (music for Wax Experiments, experimental film by Oskar
Fischinger, 1921-1926) in 2002. He lives in France.
Juan Namuncurá (born in Bolivia, 1962; has been living most of his life in Argentina)
composed Butalón 246.
Antonio Moliterni (born in Buenos Aires, 1963) composed among other works: Página
blanca for electronic media in 1990; Vestigios for bass clarinet, piano and electronic media in
1994; Ciclópeo for bass clarinet and tape in 1996; What’s that sound from under the door for
tape in 2000; and Touch & go for clarinet, piano and electronic media in 2001.
Jorge Haro (born in Buenos Aires, 1963) composed Eriales (part IV) in 1996.
Fabián Luna (born in Buenos Aires, 1963) is a composer, multimedia artist and software
developer, currently teaching Music Technology and Multimedia at the ORT Technical High
School in Buenos Aires.
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Among other works he composed: Estudio No. 1 (København) for tape in 1988; 3 Cascadas
en Transición for live electronics in 1994; Emulaciones in 1997, Dinámicas Expansivas in
2000, and Accéssus in 2002, all three pieces for tape or CD.
Other works by Luna are: Entornos Replicantes, a series of sound installations developed
between 1996 and 2002; and Literalmente 0, an experimental web site related to image,
animation, text and sound exploration, dated 2000-2002.
Luna developed several multimedia and musical applications using HMSL - Hierarchical
Music Specification Language (Cascadas 1992-1998; Asimov 1996-1998; Replicantes 1998;
Celdim 1998-1999), Max (Conversiones 1999; Editor SysEx Universal 2001-2002),
HyperCard (MIDI utilities 1996-1998) and VisualBasic (Astrolabio 2001-2002; Babel 2001-
2002; SINTDSP 2001-2002), among other programming environments.
Fernando Polonuer (born in Buenos Aires, 1964) composed Del ser o la nada y esa
desesperada búsqueda for tape in 1996; Tus palabras cercanas for tape in 1997; Breve
reseña sobre los sueños, el vacío y la enfermedad for tape in 1998; and Rotaciones.
Gustavo Chab (born in Buenos Aires, 1964) composed Mirada roja for tape in 1992; Futura
for violin, tape and live electronics; Subterráneao, concrète music on tape; Espacios
Ausentes for voice, tape and live electronics; Géminis on tape; Serena for flute in G, tape and
live electronics.
Andrea Pensado (born in La Plata, 1965) has been composing with electrocoustic media and
performing using live interactive musical systems.
Pensado studied Musical Education at the National University of La Plata in Argentina. Then
she moved in 1987 to Poland to study at the Cracow Academy of Music, where she graduated
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in choral conducting in 1992 and composition in 1995 after having studied with Barbara
Buczek and Boguslaw Schaeffer. There she studied also computer music with Marek
Choloniewski. During 1997 Pensado came back to Buenos Aires and during 1998 co-founded
an interdisciplinary duo, Qfwfq, with Gregory Kowalski (images).
Among other pieces Pensado composed: Desencuentros for piano and live-electronics in
1993; CIØAV for computer, 3 percussionists, voice and live-electronics, with 8 channels
spatialization digitally controlled in real time, in 1994; Ostatni sen karalucha (El último
sueño de una cucaracha) for tape in 1994; Al rumga for trombone, voice and live- electronics
in 1995; ¿Nsmentrí? for bass clarinet, alto saxophone, trumpet, violoncello, double bass, and
tape in 1997; ¡Dale que va! for bass clarinet and real time digital sound processing with
MAX/MSP in 2002.
The duo Pensado created with Kowalski, QfwfQ, works with live computer based interactive
audiovisual systems, and often in collaboration with solo performers. Among other works
they created: Paulinska 28, sound and images project for bass clarinet (with live-electronics),
in 1998; Delirium is a disease of the night for soprano saxophone, live electronics (Max
controlling DSP in real time) and Xpose, and Carcajadas Ajadas III for piano and accessory
instruments, voice, live electronics and images (interactive), both in 1999; The Blue Smoke
Producing Factory for two Mac computers (one running the software Image/ine and the other
with Max/MSP), actor, light sensors (I-Cube system) and performer, between 1999 and 2000
(the performer processes his own image with his voice and also generates and processes
sounds and images with an instrument built with 2 light sensors); Vox ex Machina for voice
and movements, installation with light sensors and two computers (Image/ine and
Max/MSP), in 2000; ABX, based on The Seven Sermons of the Dead by Carl Gustav Jung, for
two performers in two interactive zones of light sensors, in 2001; and Event 1, where
movements of lights held by the performers trigger/modulate sounds and images in real time,
in 2002.
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Since 2002 Pensado and Kowalski live in Salem, United States, and at the moment they
concentrate in the search of relevant parameters for performance, articulated through new
gestures and means (e.g. different type of sensors).
Osvaldo Budón (born in Concordia, Entre Ríos, 1965) studied music at Universidad
Nacional del Litoral in Argentina, McGill University in Canada and Université de Paris VIII
in France. He composed, among other works: Para el trato con el desierto for tape in 1992;
Wind … again, electroacoustic music, in 1993; de diez dedos cantando for MIDI guitar and
interactive computer in 1994; Territorios for percussion ensemble (eight parts) and tape in
1996; Fuyante for percussion quartet and tape, also in 1996 but revised in 1998; para cantar
for voice, percussion and digital voice processing, and Esquisse d’un musique lointaine for
flute quartet, trombone and three computer operators, both in 2001. All electronic parts of
these pieces were created at the Electronic Music Studios of McGill University in Montreal.
Budón lives at present in Montevideo, Uruguay.
José Mataloni (born in Córdoba, 1965) composed among other works: Ya nunca más me
verás como me vieras in 1996; Continentalia, electroacoustic, in 1999; Tiempo Dos,
electroacoustic-sound art, Piazzollage, sound art - electroacoustic tango, and Primera carta,
all three in 2000; Tausend Ja Tango, electroacoustic tango - sound art, Ensoñación Porteña,
electroacoustic tango - sound art, Sonidos Lejanos, electroacoustic-sound art, and Portalis,
sound-art, all four pieces in 2001; Magma, electroacoustic, Navidad del Agua,
electroacoustic, El Sueño del Gallo, sound art, Monstruo Mecánico, electroacoustic-sound
art, Paz!, electroacoustic-sound art, and Die Arcana (Tarot I), hörspiel, all six works in 2002;
“Vida Mía Remix”, electroacoustic tango - sound art, in 2003; and Transvolución in 2004.
Mataloni organized several contemporary music encounters, as for example the Cycles of
Experimental Music I-IV and the Competition-Forum for Electroacoustic Music I-IV (1998-
2001). He was living in Germany for some years.
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Raúl Minsburg (born in 1965) is at present professor and researcher at the National
University of Lanús, and artistic co-director of the Sonoimágenes festival.
Among other works Minsburg composed: La huella de Vincent for electronic sounds, 1992;
El otro espejo, electroacoustic music, 1994; Un oído en el desierto, electroacoustic music,
1995; Voces del recuerdo, electroacoustic music, 1995-1996, realized at Birmingham
University; Las Formas del Silencio, electroacoustic music, 1996; Días despues...,
electroacoustic music, 1997-1998; Cientos de voces, electroacoustic music, 1999; Tiempos
imaginarios for 4 musicians and tape, also 1999; Entre sueños, electroacoustic music, 2001;
El mismo camino, electroacoustic music, 2003; and A tu memoria (para Naum Minsburg),
electroacoustic music, 2005.
Martín Fumarola (born in 1966) has been Associate Composer to the LEIM (Laboratorio de
Electroacústica e Informática Musical) at the School of Arts, National University of Córdoba
until 2002. He is now a freelance composer.
Among other works he composed the following tape works: Argos in 1988; Estatismo in
1989; In-Movile in 1992-1993, Set In in 1994; El peregrinar de la araña in 1995;
Callejuelas, realized at LIEM-CDMC in Madrid, Spain, in 1996; Shaguir, realized at the
Theremin Center for Electroacustic Music and Multimedia in Moscow, Russia, and “Omen”,
both in 1998; SC in 1999; and CS in 2002, realized at his personal studio.
Some of his research papers are: Delimitación de constantes compositivas en la música

electroacústica argentina del interior del país, Informe Final, research grant 1997-1998,
National Endowments for the Arts, Argentina; A compositional strategy thought in terms of
stories, published in the Proceedings of III Simposio Brasileiro de Computaçao e Musica
held in Recife, Brazil, 1996; An Approach to a Latinamerican Computer Music, published in
the Proceedings of the International Computer Music Conference held in Hong-Kong, 1996;
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and Electroacoustic Music Practice in Latin America: An Interview with Juan Amenabar,
published in Computer Music Journal Vol. 23 No. 1, 1999, The MIT Press, United States.
Fumarola has been also active in promoting electroacoustic music through curated concerts
and lectures.
Daniel D'Adamo (born in Buenos Aires, 1966) composed, among other works: Dómbra, for
bass clarinet and computer, in 1997. During the last times he has been working at LEAD-
CNRS, in France, researching on musical structure perception as part of a program for
research in cognitive sciences.
Damián Keller (born in Buenos Aires, 1966) has been developing an interdisciplinary
research work on instrumental timbre and formal structures using tools extracted from
psychology of perception, signal processing and musical analysis.
Keller composed: Canon in 1987; Targo and Desencuentros in 1988; Criasom in 1989;
Exilios in 1991; Incuasi-Promptum in 1992; Duo in 1993; Brasil(espacio)ia in 1994; La
Patente for CD, Arrow of time for trombone and electronics, and To Lions Gate for CD, all
three in 1997; Lo femenino en la pena for CD in 1998; touch'n'go (toco y me voy) for eight-
channel computer-generated tape and hypertext between 1998 and 1999; Drop for 8 channels
tape, and Waltz No. 6, installation, collaboration with A.L.F.S. Keller (video, visual design)
and Thor Sunde (sculpture), both in 1999; The Trade/Oro por baratijas for CD, Metrophonie
for 4 channels tape, and La Conquista, installation, collaboration with A. Capasso (video,
visual design), all three works in 2000; and Instábilis, installation, collaboration with K. Lins
(visual design), in 2001; among other pieces.
In collaboration with C. Rolfe, Keller developed MacPOD, a real-time granular synthesis

software.
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More references on Keller’s research could be found in chapter VIII, section 8.2 Recent
research.
Juan María Solare (born in Buenos Aires, 1966) studied piano, composition and conducting
at the National Conservatory of Music in Argentina.
Among other pieces he composed: Mentira, realized at Deutsche Welle’ studios, Germany, in
1996; Assurancetourix for tape, based on samples of the voice of Ligia Liberatori, in 1999;
Solidità della nebbia for basset horn and electronic sounds, between 1999 and 2000; Was a
saW for electronic sounds (sawtooth waves), Voi ch'intrate for tape, The void profound of
unessential night for electronic sounds (sine waves), Celsius 24 (Wolhtemperierter Raum),
sound installation for the Altes Rathaus in Worpswede, Engarces for electronic sounds,
Trituration for electronic sounds, and Drooping Drops for bassoon, piano and tape, all seven
works in 2001; and Preludio granular y Fuga for tape, and Circa Cis for choir (and tape ad
libitum) in 2002.
About Solidità della nebbia (Solidity of mist) for basset horn and electronic sounds he wrote:
[…] was realized at the Studio of the Musikhochschule in Cologne (with the technical
assistance of Marcel Schmidt and under the guidance of Hans Ulrich Humpert). The
piece is almost completely based upon samples of basset horn, performed by Michele
Marelli, and of his voice.
The title is taken from a picture by Luigi Russolo (1885-1947), a painting where the
colour blue predominates, ….. Russolo, besides being painter, was a musician (or at
least inventor), and one of the impulsers of Futurism. He was one of the first that
already in 1913 imagined a music based on taking noise as raw material and
organizing it. And he didn't limit himself to imagine this, but he constructed a group
of apparats (intonarumori) that put in practice his ideas. That line of thought is
retaken with Edgar Varèse, later with the musique concrète and the electronic.
Forcing things, all present computer music is in debt with futurist ideas. To intitle
this piece Solidità della nebbia implies thus an acknowledgement.
Solare, J. M. (2003). Program Notes. [personal communication].

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Another work by Solare is Collar, part of a trilogy that he conceived in 2001 including:
Perlas Esparcidas (Pearls) for unaccompanied trumpet (or English horn or basset horn),
Engarces (Threadings) for electronic sounds, and Collar (Necklace) for trumpet (or English
horn or basset horn) and electronic sounds. Collar is the superposition of Perlas Esparcidas
and Engarces (thus Pearls + Threadings = Necklace).
Solare lives in Germany.
Juan Pampin (born in Buenos Aires, 1967) composed Apocalypse was postponed due to a
lack of interest for computer generated sounds on tape in 1994, using Bill Schottstaedt's CLM
language in a NeXT workstation to generate, transform and mix all the sounds; Transcription
I for computer driven Disklavier in 1996; Metal Hurlant for metallic percussion and
computer generated sounds in 1996; Toco Madera for wooden percussion duo and computer
generated sounds in 1997; and Skin Heads for percussion trio and electronic sounds.
About Toco Madera Pampin wrote:
I sculpted new sounds with the computer from a set of nine wooden percussion
instruments recorded in the studio. I wanted to keep the rustic quality of wood
sounds, to operate on them respecting their soul. This task was achieved using
spectral analysis of the instrumental sounds to extrapolate their salient acoustic
qualities, and digital filters to carve their matter. Throughout the piece, these
transfigured wood sounds interact with the original instrumental set, performed by
two percussion players, to create a multilayered musical space that reflects the
textural traits of the natural wooden sculpture.
Pampin, J. (1997). CCRMA 1997 Summer Concert. Digital music under the stars.
[online] Address: http://ccrma.stanford.edu/events/concerts/Summer-1997.html#toco
Pedro Ochoa (born in 1968) composed Noche y fuego in 1997; El caminante in 2000; and
Tierra viva in 2003.
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Federico Martinez (born in Buenos Aires, 1968) composed El nombre in 1999.
Ernesto Romeo (born in Buenos Aires, 1968) musical focus is on composing and performing
live using electronic musical instruments. He is also teaching music technology at the ORT
Technical School and in his personal studio.
As soloist or with his duos Klauss or Marienbad, he has been performing live extensively
using a complex stage setup with electronic musical instruments ranging from the 60s till
today, including several modular analog synthesizers, analog audio processors, analog
sequencers, a mellotron and tape effects, as well as samplers, digital processors and
synthesizers, and several computers. His music oscillates between pop, experimental and
electroacoustic languages.
Among his pieces: Estacionarias, 2000; and Estética for processed electric violin, synthesizer
and modular system, 2003.
Pablo Loudet (born in La Plata, 1969) is Professor of the Workshop of Electroacoustic

Music and Assistant Professor of Experimental Sound Practice at the Fine Arts Faculty,
National University of La Plata, since 1999. He is also Professor of Computers Applied to
Musical Education at Chascomús Conservatory since 2001.
Among other pieces, Loudet composed: Estudio para cinta y guitarrra eléctrica for
electroacoustic media and guitar in 1998; Llanuras and La espera, both for electroacoustic
media, in 1999; Germinal, for electroacoustic media, between 2000 and 2001; and Comeme,
bebeme, electroacoustic music for dance, in 2002.
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He also composed some works for digital orchestra as Estudio para tres and Dos piezas
(Baguala and Milonga) both in 1996; and La estructura, for digital orchestra and
improvisation group, in 1997.
Emiliano Causa (born in La Plata, 1970) studied graphic art, composition, sax and
information systems’ engineering. He is researcher and professor at the Multimedia
Production career at the Fine Arts Faculty of the University of La Plata.
Some of Causa’s electroacoustic pieces are: Hambre Hombre and Organismos Sonoros, both
1999, and Fragmentación e Interferencia, 2000, all three pieces for tape. In 2000 he
composed Estoy así…, a mixed work for tape and alto sax.
Causa started to work with video art and electroacoustic music in 2001, and during 2002
founded the group Proyecto Biopus (with Christian Silva, Tarsicio Pirotta an Julián Isacch) to
work on interactive artworks and web-art developments, bringing together multimedia and
artificial intelligence concepts.
Among Causa’s video art works, based on his electroacoustic pieces: Dos Discursos and
Acecho: Persecución y Muerte, both 2001, have music by Causa and animated images by
Causa and Christian Silva. In 2002 Causa directed Organismos, working also on its
animation algorithms and sound design (music by Matías Romero Costas; animation by
Tarcisio Pirotta, Christian Silva and Julián Isacch).
He also directed interactive multimedia works, as for example the CD-ROM Sonomontaje,
1999, collaboration with Carmelo Saitta, Daniel Reinoso, Christian Silva, Pablo Loudet and
Leonardo Garay; and the web-art pieces Enjambre and Vasarely Genético, both 2002,
collaboration with Christian Silva, Tarcisio Pirotta and Julián Isacch.
Causa has been active developing software for music, digital audio signal processing and
multimedia, and is currently working in artistic applications of interactive technologies.
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More references on Causa’s research could be found in chapter VIII, section 8.2 Recent
research.
Francisco Colasanto (born in Buenos Aires, 1971) is researcher and composer. Among other
works he composed Baile for double bass clarinet and electronic sounds; Transición; and the
sound installation Templo - movimiento perpetuo created in 2000. More references on
Colasanto’s research could be found in chapter VIII, section 8.2 Recent research.
Daniel Judkovski (born in Buenos Aires, 1971) composed Apariciones for tape in 1996.
Mariano Martín Cura (born in Buenos Aires, 1971) composed Juego de Orquesta.
Miguel Galperín (born in Buenos Aires, 1972) composed Viendo for tape, 1998; Subtitles
No. 1, 1999, also for tape; Elevator Music for Spaces (50s) and Elevator Music for Spaces
(Beethoven), both 2001, for three pianos and homemade electronic instruments.
Patricia Martinez (born in Buenos Aires, 1973) is active as composer, performer and
improviser, playing piano, synthesizers and electronics. She was director of different
ensembles of experimental and improvised music in Argentina, France and Holland, and is
since 2001 conducting the group Zhéffiro.
Among other pieces Martinez composed: Fines, De cielos y profetas, recorded at ARTE 11,
Buenos Aires, and Resplandor de lo ausente, all three acousmatic pieces, 1992; El alma al
cuerpo for piano and tape, 1993; Duelo intenso, acousmatic, realized at UNQui, Argentina,
Puentes ilusorios entre lo eternamente separado for percussion and tape, De la luz la
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sombra, acousmatic, Del cuadro a la postergación, acousmatic, realized at the G.M.E.B. in

Bourges, France, all four pieces 1994; Auto rre trato for clarinet and synthesizer, Hasta que
el mar se quiebre for tape, and Restos de nada, acousmatic, all three pieces 1996; FRICS-
project for clarinete, piano and syntheziser, 1997; se desprende y cae for violoncelo and
electronics, between 1997 and 1998, realized at the IRCAM in Paris, France; Express, music
for radio, between 1998 and 1999; The last rite, musical theater for ensamble, two actors and
tape, between 1996 and 1999; despuesdelaconsumacion for ensemble and electroacoustic
sounds (14 performers), 2000; Quién me diese alas como de paloma for for conductor, cello,
bass clarinet, clarinet, bass trombone, eletric guitar, CD player, piano and percussion,
between 1998 and 2001; Mueca for electronics and video, 2001; Espejos de tiempo,
acousmatic, 2002.
Nicolás Varchausky (born in Buenos Aires, 1973) is Professor at National University of

Buenos Aires, National University of Tres de Febrero, National University of Quilmes, and
Film University (Universidad del Cine).
Among other works he composed: Terrero for two guitars and electronics in 1996-1997;
Blanco de Zinc for electroacoustics in 1998; Intervenciones for mixed media and video in
1999; Letanías and La Bonaerense/La Federal, both for electronics, in 2000; La Estrella
Federal, electronics, using 8 loudspeakers, and Warnes for 2 violas, 2 cellos, 2 double bass,
and electronics, both in 2001; Proyecto Ascensor, installation, in collaboration with P.
Ziccarello, Proyecto Torrre, an installation with public participation, and Blanco de Plomo
for two percussionists and electronics, in 2002.
Mariano Fernandez (born in Buenos Aires, 1974) composed Refugio y Temblor for tape
between 1997 and 1998 (prized at the International Rostrum of Electroacoustic Music);
Huellas del olvido in 1998, also for tape; Las gárgolas invisibles, and Como una luna en el
agua, both 1999, for quad tape and realized at Studio du Nord, Lille III University, in France;
and Tawantinsuyu, sangre y piedra, for voice and tape, 2003.
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Gustavo Delgado (born in Florida, Buenos Aires, 1976) composed Fantasía en el sur in
1996, realized at his personal studio, and entrecuerdas in 1997, both pieces for tape. Other
works by Delgado are Sin escape aparente, Sinfonía para una multitud and Perdido en un
circuito abierto.
Many other Argentinian composers have been working with electroacoustic media in their
music. Because of the difficulties to find or confirm the date of birth for some of them, the
following are listed alphabetically: Pedro Caryevschi composed Analogías Paraboloides for
tape at CLAEM in 1970. Sebastián Castagna composed Intemperie for tape in 1997.
Marcelo Cosentino composed Espectro embudo for piano, bass clarinet, drums and tape in
1994. Marcelo Delgado composed Lito for clarinet and tape in 1994; and Un compositor
improvisado for oboe, clarinet, piano and two synthesizers in 1998. Adriana de los Santos
was working with Rubén Guzmán to create Firt 119 for piano, electroacoustics and video in
2002. Christian Dergarabedian composed Una gota de agua en el océano and Espacio
para estar solito. Arnaldo di Pace and Pablo Martinez composed Suite de Medea [Ritos],
version 2003 for sampler and live sound processing. Hugo Druetta composed Bailón and
Las últimas luces, both works for tape, in 1994. Susana Espinosa, founding director of the
Audiovisión Bachelor at the National University of Lanús, composed Ya… version 2003, a
real time collective creation using vocal sounds and electroacoustic processing based on the
homonym poem by Juan Verón. Claudio Garbolino composed Ostinato roto for tape,
realized at his home studio, in 1996. Pablo Genoud composed Verbogatos. Silvia Goldberg
composed Remansos in 1993; and Evocación I for tape in 1996. Pedro Gómez composed
Seducción y escape for tape in 1996. Aitana Kasulin composed Endecha for flute, tape, two
dancers and video in 1998. Fernando Larraburu and Hugo Pascaner composed
Transformaciones modulares in 1989, while working at LIPM. Fernando Laub composed
Caos: en el mundo de las ideas for tape in 1996; and Materialismo. Esteban Lopez Blanco
composed El Grito in 1989. Carlos Lucero composed Sirenas. Tomás Luzián composed
Estudio Electrónico No. 1 in 1984. Jorge Naparstek composed Agua sobre el cielo for sax
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and tape in 1994. Carlos Rausch composed Para Gerardo - Phonos II for tape and fute in
1973, at the Columbia-Princeton Electronic Music Center in New York. Patricia San
Martín composed Expansión in 1991. Julieta Szewach composed El Cementerio Marino for
two pianos, magnetic tapes and water. Federico Uslenghi composed Analogías Nro. 1 for
CD in 2002.
There are also works involving electroacoustic media by Gabriel Cerini, Luis Jorge
Gonzalez, Bernardo Kuczer, Eduardo Luisi, Ana María Rodriguez, Damián Rodriguez
(born in Rosario, Santa Fe, 1963), Guillermo Fabian Senn (born in Esperanza, Santa Fe,
1977), Alberto Soriano, and Claudio Tripputi, to name but a few.
6.3 Bolivia
Atiliano Auza (born in Sucre, 1928) did some experimenting with electroacoustic media
during the early 70s together with Alberto Villalpando. They were using a Synthi synthesizer
to transform some quenacho improvisations recorded by a visiting flutist from Uruguay
(quenacho is a very low register quena; a notched end-blown flute typical from the Andes
region).
Florencio Pozadas (born in 1940; died in 1970) composed CM-Op.1 (stands for Cinta
Magnética = magnetic tape) for percussion and tape in 1968. The tape part was realized at
CLAEM, in Buenos Aires.
Alberto Villalpando (born in La Paz, 1942) is considered one of the main driving forces of
contemporary music in Bolivia.
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He started his experiences with electroacoustic music in Buenos Aires, Argentina, first at the
National Conservatory of Music during 1962, and later at Centro Latinoamericano de Altos
Estudios Musicales (CLAEM) of Instituto Torcuato Di Tella during 1963 and 1964.
Back in Bolivia in 1965, Villalpando kept working using tape techniques in his music.
During 1970 he composed two mixed pieces, Mística No. 3 for double string quartet, French
horn, flute, double bass and tape, and Mística No. 4 for string quartet, piano and tape. Both
pieces use the same tape part, produced with a Synthi synthesizer.
While in a Symposium in Italy, Villalpando met Belgian composer Leo Küpper who invited
him to work at his personal electronic music studio. Villalpando traveled then to Brussels
where he composed his tape piece Bolivianos…! in 1973.
During the mid 70s Villalpando composed Yamar y Armor, ballet’s music for voice, tape and
orchestra, with texts by Blanca Wiethüchter. He included tape recorded electroacoustic
sounds together with the orchestra on the first and third act, and a long tape solo starting the
second act.
Years later Villalpando started to explore the possibilities of MIDI and composed Desde el
Jardín de Morador, 1990, and De los Elementos, 1991.
Between 1996 and 1997 Villalpando composed Qantatai for chorus, narrators and electronic
sounds. In 2002 he composed Piano 3 for piano and two synthesized pianos, and La Lagarta,
a 70 minutes ballet work in three acts for narrators and electroacoustic sounds, based on texts
by Blanca Wiethüchter.
Edgar Alandia Canipa (born in Oruro, 1950) moved at an early age from Bolivia to Italy,
and developed his musical career there. He studied in Italy at the Santa Cecilia Music
Conservatory, graduating as composer and conductor. Since 1983 Alandia is director of the
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Nuove Forme Sonore ensemble. At present he is professor of composition at the (“F.

Morlacchi”) Music Conservatory of Perugia.
Alandia has been using live electronics in several of his compositions, among them:
Memorias for string quartet, tape and live electronics, 1987; PERLA....fabula triste, chamber
opera for reciter, soprano, baritone, string quartet, trombone and live electronics, 1989;
Soundfences for trombone and live electronics, also 1989; Undfen for trombone and live
electronics, 1990; Mientras for trombone or trombone with live electronics, 1994; Sottili
canti....invisibili for reciter, piano, tuba and live electronics, 1995; …sottile canto III for tuba
and live electronics, 1997; iba por los montes...mientras yo dormía for violin and live
electronics, 1998; de...homenaje for soprano and live electronics, and Oruro 3.706 mt. SNM,
chamber music theatre with “music...words...images...” for actor, soprano, violin, piano,
trombone, tuba, tape and live electronics, both 1999. He also composed Solo for soprano and
tape, 1996.
Gerardo Yañez (born in 1952) composed Imantata (Lo Escondido) in 1991; Pedazo de
Infinito in 1992; and Calcuta in 1993.
Nicolás Suarez (born in La Paz, 1953) obtained his Master and Doctor of Music degree at
the Catholic University of America in Washington D.C., United States.
He composed Sexta Mayor in 1992 and Chica Aruma in 1994, both for tape. Chica Aruma
means “at midnight” in Aymara language. The composer wrote about this piece:
It is based on an exploration of the language of the Aymara indigenous people from

the Andes region of Bolivia. Text editing and sound manipulation in time and pitch
are the main structural resources, and were achieved using a small Macintosh
computer and a percussion module.
Suarez E., N. (undated). Program Notes. [personal communication].

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Cergio Prudencio (born in La Paz, 1955) is the founder and director of the Orquesta
Experimental de Instrumentos Nativos or OEIN (Experimental Orchestra of Native
Instruments). He composed Awasqa for tape in 1986, and Tres movimientos coreográficos in
2000, edited version of a work originally part of the dance performance La casa de fulano.
Agustín Fernandez (born in Cochabamba, 1958) studied music in Cochabamba, then in La

Paz with Alberto Villalpando, and later in Japan with Takashi Iida and Akira Ifukube. He
moved to England in 1984 to study first at the University of Liverpool, where he received his
Master in Music, and then to City University in London, for his Ph.D. studies.
Fernandez composed Teoponte, a music theatre work for 6 mixed voices and tape in 1988;
Angel Herido for charango and tape in 1989; and Silent Towers for tape in 1990.
At present he teaches composition at Newcastle University in Belfast.
Oscar García (born in La Paz, 1960) has been director of the Orquesta Contemporánea de
Instrumentos Nativos (Contemporary Orchestra for Native Instruments), founding director of
Taller Boliviano de Música Popular Arawi (Arawi Bolivian Workshop of Popular Music),
and contemporary music director of ensemble Madera Viva.
He composed, among other works: ES ZAS in 1993, collaboration with Sergio Claros Brasil;
Soplosorbos and El puro no, both pieces for voice and tape, based on texts by Oliverio
Girondo, and composed in 2000; Cordimento I for tape in 2001; and Irupampa for guitar and
tape in 2002.
Jorge Ibañez (born in La Paz, 1960) began musical studies with his parents, then he went to
the Regional School of Music in Cusco, Peru, and later to the National Conservatory of
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Music in La Paz. He was professor of piano several years at that Conservatory in Bolivia
before he moved to the United States to study at Longy School of Music, then at the New
England Conservatory of Music, and later at Carnegie Mellon University, where he received
his Master in Music.
Among other pieces, Ibañez composed: Paisaje Sonoro Nocturno I (Soundscape I) and
Paisaje Sonoro Nocturno II (Soundscape II) in 1993, both realized at Carnegie Mellon
University working with a Yamaha DX7 synthesizer; and Estudio Ocarino in 1998, realized
at Boston University working with electronic samples of different kind of ocarinas.
At present Ibañez lives in Miami, United States, and teaches at Broward Community College.
Juan Namuncurá (born in Cochabamba, 1962) moved to Argentina when he was 4 years
old. He composed Pu Choroy Piré and Butalon 246.
Sergio Claros Brasil (born in La Paz, 1963) composed Hambre in 1992, for a multimedia
piece created in collaboration with photographer/videographer/painter Gastón Ugalde (born
1946); and ES ZAS in 1993, in collaboration with Oscar García.
Javier Parrado (born in La Paz, 1964) composed several works using electroacoustic media:
Tiempo, for 4 channels’ tape, in 1990, when he was still a student; Inti Yana for CD, in 1994;
Panel del carnaval 1 for cassette tape or MIDI sequence plus MIDI SysEx data to use with a
KS32 Ensoniq synthesizer and optional acoustic or sampled percussion, in 1998; and Ánima
del primer día for musician (flute and soprano sax) and tape, in 2001. Parrado realized all the
electroaocoustic parts of those pieces at his home personal studio.
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Julio Cabezas (born in 1965) graduated in Composition at the National Conservatory of

Music in La Paz. He studied with composers Alberto Villalpando, Cergio Prudencio and
Nicolás Suarez. Cabezas also graduated in sound enginering at Universidad del Valle.
He composed in 2002 a microtonal work for tape: Variaciones para un oído aparentemente
destemplado, premiered that same year in Sucre.
Cabezas has been teaching music at the National Conservatory of Music, Valle’s University,
and Eduardo Laredo’s Institute in Cochabamba.
Juan Siles Hoyos (born 1966) composed an Estudio Electroacústico in 1991.
6.4 Brazil
Hans-Joachim Koellreutter (born in Freiburg, Germany, 1915; died in Sao Paulo, 2005)
composed Sunyata for flute, orchestra and tape in 1968.
Claudio Santoro (born in Manaus, 1919; died in Brasilia, 1989) composed Aleatórios I, II,
III for tape (audiovisual pieces) between 1966 and 1967; Intermitências II for chamber
orchestra in 1967, using 4 microphones and a group of loudspeakers to amplify the acoustic
instrument resonances; Mutationen I for modern harpsichord with pedals and tape in 1968;
Mutationen II for cello and tape in 1969; Mutationen III for piano and tape in 1970; Quadros
sonoros, for tape and paintings with photosensors, between 1967 and 1970; Mutationen IV
for viola and tape between 1971 and 1972; Mutationen V and Mutationen VI, both for violin
and tape, in 1972; Mutationen VII for string quartet or any combination of Mutationen II, IV,
V and VI and tape in 1973; Mutationen VIII for piano, string quartet and tape (combining
Mutationen II, IV, V and VI) in 1975; Struktur von Zement und Eisen for tape between 1972
and 1975; Estudo for tape, Mutationen X for oboe and tape, Mutationen XI for double bass
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and tape, and Mutationen XII for string quintet or string orchestra and tape, all three works in
1976.
Gilberto Mendes (born in Santos, 1922) composed Nascemorre for mixed chorus, 2
typewriters and tape in 1963; Santos Football Music for instruments (orchestra), audience,
dinner and 3 magnetic tapes in 1969; Vai e vem for soloists, chorus, pre-recorded percussion
and turntable, also in 1969; Atualidades: Kreutzer 70 - Homenagem a Beethoven, for dinner
(a violinist and a pianist) and tape in 1970; O Objeto Musical - homenagem a Marcel
Duchamp, for fan and electric shaver in 1972; among other works.
Ernest Widmer (born in Aarau, Switzerland, 1927; died in Aarau, 1990) lived in Brazil
many years. In Bahia, he was the director of the Music School of Bahia Federal University
(1963-1965, 1967-1969 and 1976-1980), the artistic director of the Festival for New Music
(1969-1973) and the artistic director of the Bahia Art Festival (1974-1982).
Widmer composed Rumos for big vocal and instrumental masses and tape; and
ENTROncamentos SONoros for piano, 5 trombones, strings and tape, both pieces in 1972.
Hubert Hans Hoffmann (born in 1929) composed Mensagem celestial for synthesizer in
1995.
Reginaldo Carvalho (born in Guarabira, 1932) composed between 1956 and 1959 at the
Estudio de Experiencias Musicais (Musical Experiences Studio) in Rio de Janeiro his first
concrète pieces on tape. In 1960 he moved to Brasilia, the new capital city of the country,
where he composed new concrète works at Radio Educadora. Later he returned to Rio de
Janeiro where he founded the Estudio de Musica Experimental (EME), producing there some
new electroacoustic works in 1966. At that time Carvalho was appointed director of the
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Conservatorio Nacional de Canto Orfeônico de Rio de Janeiro, name that he changed by

Instituto Villa-Lobos. This became an important center for studying and promoting new
music. Among other, Jorge Antunes and Marlene Fernandes were also collaborating at the
Institute.
Some of the electroacoustic pieces on tape by Reginaldo Carvalho are: Si bemol, 1956,
considered the first musique concrète work realized in Brazil; and later the same year
Temática and Troço I. During 1957 he composed Troço II. All of these works were based on
piano sounds.
Carvalho started to experiment then with other sound objects and composed Estudo I in 1958
working with glass sounds, and Estudo II in 1959 with sounds coming from wood objects.
Between 1963 and 1964 he composed Estudo III based on water sounds, and during 1964 the
Estudo IV working with plastic objects. Also dated 1963-1964 is Alegria de Natal, a piece for
mixed chorus and tape.
During 1964 he also composed Fumaça: Ressonancias and during 1965 Piano Surpresa No.1
and Piano Surpresa No.2 (also named Estudo incoerente) for tape. In 1966 he composed A
Pulserinha, A Tesourinha, Cleta and Cemiterio sem Flores, and the following year
Caleidoscópio III, all of these works for tape.
Carvalho lives today in Piauí, Teresina.
Clodomiro Caspary (born in 1932) composed Estudos Concretos I in 1966 and Estudos
Concretos II in 1967, both works for piano and prepared piano on tape.
Rogério Duprat (born in Rio de Janeiro, 1932) was experimenting together with Damiano
Cozzella (born in Sao Paulo, 1930) possible applications of computers in music. These
experiences appeared in Música Experimental, a 1963 piece structured according to computer
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calculations. Duprat also composed Ludus Mardalis 1-2 for tape in 1967; and Concerto
Alimentar in 1969.
Frederico Richter (born in Novo Hamburgo, 1932) composed Suite Eletrônica in 1979;
Introdução e Elegia por um Herói Moribundo for violin and tape, Study Spectrum Shaper
and Sonhos e Fantasia, in 1980; Mean Time Far Away, using Le Caine's Polyphone
(considered the world’s first voltage-controlled polyphonic synthesizer), and Metamorfoses,
both in 1981; Monumenta Frac Tallis-Thomas, fractal music for organ and tape, and Musica
Fractal I for string orchestra and tape, both in 1990;
Henrique ‘de Curitiba’ Morozowicz (born in Curitiba 1934) composed Metáforas for
chorus and tape in 1973.
Rufo Herrera (born in Argentina, 1935; see that section) composed Ambitus Mobile I for
three instrumental groups and tape in 1970.
Jocy de Oliveira (born in Curitiba, 1936) composed Estoria II for female voice, percussion
and electroacoustic tape in 1967; One player and four keyboards for four keyboards in 1968;
Polinterações for video, sculptures, projections and electronics in 1970; Dimensões para 4
teclados for piano, celesta, harmonium and harpsichord, Wave Song, version I for piano and
live electronics, in collaboration with Ron Pellegrino, Estoria IV, version I for 2 female
voices, electronic violin, bass guitar, percussion and live electronics, and version II for
female voice and tape, and Ouço vozes que se perdem nas veredas que encontrei, version I
for soprano and delays, all dated 1981; Memorabilia for soprano, electronic violin, bass
guitar, percussion and synthesizers, composed in 1983; Mobius Sonorum for electronic violin
and tape or digital delays, 1984; Memoria for two female voice and digital delays, 1985;
Encontrodesencontro for piano and tape / for two to four pianos / piano and live electronics
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or computer processors, 1985; Realejo Dos Mundos for female voices and synthesizers, 1986;
Ritual for soprano and synthesizers, 1987; O contar de uma raga for electronic violin and
synthesizer, 1987; Solaris for oboe and tape, 1988; Raga in the Amazon for oboe, mukha
veena, ajeng, synthesizers, 1989; Guayupia for soprano coloratura, bass, flute, oboe and
electroacoustic tape, 1990; A prostituta sagrada for soprano with or without flute and tape,
1990; Mulher dos cabelos dourados for actress, soprano,clarinet, percussion and tape, 1994;
La Loba for actress, clarinet and electroacoustic tape, also dated 1994; For cello for cello and
electroacoustic tape, 1995; Sonar for bass clarinet and electroacoustic tape, 1997; Palmyra
for oboephone and electroacoustic tape, also dated 1998; Naked diva for soprano / actress and
electroacoustic tape, 1998. Some of the named pieces are part of larger opera / multimedia
works by Jocy de Oliveira, as for example: Music in Space, a planetary opera for voices,
electronic violin, electroacoustic means, bass guitar, percussion, laser, projections and
holography, 1982-1983; Fata Morgana, magic opera for voices, electronic violin, live
electronics and dancers, 1987; Liturgia do Espaço, opera for 4 sopranos, 1 electronic violin, 2
oboes, live electronics, computer images in real time and dancers, 1988; Illud Tempus, for
one soprano, one actress, clarinet, percussion and electroacoustic means, 1994; and As
Malibrans, for 3 singers, one actress, oboe, clarinet, cello and piano with electroacoustic
means, and computer generated sounds, 1999-2000.
Raul do Valle (born in Leme, 1936) studied electroacoustic music at GRM from 1976 to
1978. Since 1983 he has been Coordinator of NICS - Núcleo Interdisciplinar de
Comunicação Sonora (Interdisciplinary Nucleus of Sound Communication). In 1994 he was
elected member of the Academia Brasileira de Música (Brazilian Academy of Music).
Among other works he composed Encadeamento for tape in 1979; and with Jônatas
Manzolli, Mural and Non Sequitur, both in 2003.
Ricardo Tacuchian (born in 1936) composed Estruturas Sincréticas for winds, percussion,
slides and electronics in 1970.
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Willy Corrêa de Oliveira (born in Recife, 1938) composed Experiences I: Cavaquinho,

Experiences II: Percussão, Experiences III: Gaita, Experiences IV: Vozes, all tape pieces, in
1959; and Materiales in 1981.
Lindembergue Cardoso (born in Livramento, 1939) composed Captações for voices,

chamber orchestra, turntables and radios in 1969.
Conrado Silva (born in Uruguay, 1940; see that section for references) have been living in
Brazil since 1969 and is one of the pioneers that helped the development of electroaocustic
music in that country.
Silva founded several electronic music studios in Brazil: Brasilia University, 1969;
University of Sao Paulo State, 1977; Santa Marcelina Arts School, 1985; Syntesis, 1986. He
is Associate Professor at the Music Department of the University of Brasilia.
Fernando Cerqueira (born in Ilhéus, 1941) composed Heterofonia do Tempo ou Monólogo

da Multidão for soloist voices, choir, orchestra and tape in 1968.
Jorge Antunes (born in Rio de Janeiro, 1942) composed his first electroacoustic piece in
1961 working at his home studio: Pequena peça para mi bequadro e harmônicos, and has
been very active working with these media since then.
In 1962 Antunes composed his first piece using only electronic sound sources, Valsa Sideral,
considered the first piece of this kind realized in Brazil.
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During 1963 Antunes composed Música para varreduras de freqüência, in 1964 Fluxo
luminoso para sons brancos I, and the following year Contrapunctus contra contrapunctus.
This last piece, together with Valsa Sideral, were included on the first analog long play
published in Brazil with electroacoustic music.
Still working at his home studio, during 1966 Antunes composed Três Estudos
Cromofônicos: 1- Estudo para círculos verdes e vermelhos; 2 - Estudo para espirais azuis e
laranjas; 3 - Estudo para pontos amarelos e violetas.
In 1967 Reginaldo Carvalho invited Antunes to teach at Instituto Villa-Lobos. Then Antunes
moved his home studio (Estúdio Antunes de Pesquisas Cromo-Musicais) to the Instituto,
composed Canto selvagem, and started to teach the first course in Brazil focused on
electroacoustic music: Curso de Musica Concreta, Eletrônica e Magnetofônica (Concrète,
electronic and tape music course). Also on that same studio at the Villa-Lobos Institute, he
composed Movimiento browniano and Canto do Pedreiro, both in 1968. All of named works
by Jorge Antunes until here are tape pieces, but he also composed mixed and multimedia
works, such as: Ambiente I for tape, lights, static and kinetic objects, incense and food, 1965;
Cançao da Paz for baritone, piano and tape, also 1965; Poema Cameristico for speaker,
bassoon, piano and tape, Pequena Peça Aleatória for masculine voice, piano and Theremin,
Dissolução for strings orchestra and tape, and Cromoplastofonia I for full orchestra and tape,
all four works, 1966; Missa Populorum Progressio for choir and tape, and Insubstituível
Segunda for cello and tape, both 1967; Invocaçao em defensa da maquina for percussion and
tape, 1968; Concertatio I for vocal group, instruments and tape, 1969; Proudhonia for mixed
choir and tape, and Idiosynchronie for orchestra with electroacoustic processings, both 1972;
Catastrophe Ultra-Violette for male choir, orchestra and 3 tapes, Intervertige for string
quartet, wind quintet, 2 percussionists and electronic equipment, and Source for voice, flute,
viola, cello, piano, synthesizer and tape, all three works 1974.
Jorge Antunes was also one of the composers that had the opportunity to study at the already
legendary CLAEM - Instituto Di Tella in Buenos Aires during the 60s. There he composed
Cinta Cita for tape in 1969 and Auto-Retrato Sobre Paisaje Porteño in 1970.
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Other works by Jorge Antunes are: Para Nascer Aqui, 1971, realized at the Institute of
Sonology in Utrecht, The Netherlands; Canto Esthereofônico for clarinet, bassoon, French
horn, viola, cello, double bass, percussion and tape, 1978; Sinfonia Das Diretas for 300 car
horns, alto sax, electric guitar, electric bass, electric piano, drums, percussion, reciter, mixed
choir, popular choir and tape, 1984; Interlude No. 1 pour Olga and Agenda pour un petit
futur for tape, both realized at Les Ateliers UPIC in Paris during 1993; Le cru et le cuit for
percussion, some Brazilian sound sources and tape, composed between 1993 and 1994;
Mixolydia for Theremin and tape, Ballade Dure, realized at GRM in Paris, Vitraux MCMXCV
and La beauté indiscrète d’une note violette, both produced at Studio Charybde of GMEB, all
four pieces 1995; Hombres tristes y sin título rodeados de pájaros en noche marilla, violeta y
naranja, composed at LIEM in Spain, and Rituel Violet for tenor sax and tape, both 1998.
Between that year and 1999 Antunes composed Cantata Dos Dez Povos for solo vocal
quartet, 11 reciters, mixed choir, symphonic orchestra and three tapes; and between 1999 and
2000 his Sinfonia em Cinco Movimentos for symphonic orchestra, mixed choir, solo tenor
and tape.
Antunes also built several electronic music instruments and devices that he used on his early
pieces, as an electronic sawtooth wave generator, a spring reverberator, and two different
Theremins.
Aylton Escobar (born in São Paulo, 1943) composed Assembly for amplified piano and tape
in 1972; Onthos for chamber orchestra and tape in 1973; Quebradas do Mundaréu for tape in
1975; Poética II for flute and tape in 1978; Poética III for clarinet and tape in 1979; Poética
IV for tuba and tape in 1980; Poética V for harp and tape in 1980; Poética VI for cello and
tape in 1981. Other works by Escobar are: Noneto for soloist voice and tape; Cromossons for
instruments, voices, radios, tape, mobiles, mimes and audience; and Dois contornos sonoros
for mixed voices and portable radios.
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Roberto Martins (born in 1943) composed Rosa tumultuada for chorus and tape.
José Maria Neves (born in São João del Rei, 1943; died in 2002) composed Un-X-2 in 1971,
a piece realized in Paris, and Encomendaçao, S/1 and Trans-form-action, among other works.
Agnaldo Ribeiro (born in 1943) composed Kuadrus for oboe and tape in 1977.
Vânia Dantas Leite (born in 1945) composed Vita Vitae for flute, clarinet, viol, cello, actress
and tape in 1975; A-Jur-Amô for voice and tape in 1978; Di-Stances in 1982; Te quiero verde
for percussion, electric guitar, tape and reciter in 1983; Karysma for oboe and tape in 1984;
Flutcherliss for electric guitar, synthesizer and projection in 1987; Canto de Orfeu for voice
and tape in 1988; and Sforzato/Piano for tape in 1994.
Luis Carlos Csëko (born in 1945) composed Sound for voice and tape in 1992.
Jaceguay Lins (born in 1947) composed Noturno for two mobile radios and whistles.
Gil Nuno Vaz (born in 1947) composed Seis poemas for three equal female voices and tape
in 1972.
Ilza Maria Costa Nogueira (born in 1948) Metástase for chorus (SATB) and tape.
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Aluízio Arcela (born in João Pessoa, Paraíba, 1948), mainly a researcher with works in the
computer music, digital images and multimedia fields also composed some musical pieces:
Cinco Hierarquias Espectrais in 1993; and /cartas/rs95.car in 1995. In 1997 he presented at
the IV Brazilian Symposium on Music and Computers (IV Simpósio Brasileiro de
Computação e Música) an on-line concert with Three-Threaded Invention, written for one
sonic client and three graphic servers. Arcela described the work as “a client-server
application for music where graphic servers are arranged in a a way to provide visual
counterparts to the real-time events generated by a sonic client.”
Arcela's research started in 1975 in the electrical engineering department of the Pontifical
Catholic University of Rio de Janeiro.
During the 80s Arcela was invited to join the Brasilia University where he founded the
Laboratório de Processamento Espectral (Spectral Processing Lab). At the same University
he cretated the Master in Computer Music in 1989, the first University-level computer music
course in South America.
Arcela developed software for sound synthesis, algorithmic composition and computer image
generation based on musical intervals. More references on his research could be found in
chapter VIII, section 8.2 Recent research.
Lourival Silvestre (born in 1949) composed Tempo Grande for flute, piano and tape in
1973.
Ronaldo Miranda (born in 1948) composed Canticum Itineris for voices, old instruments
and tape in 1979;
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Rodolfo Caesar (born in Rio de Janeiro, 1950) is Lecturer at the School of Music of
Universidade Federal do Rio de Janeiro (UFRJ) in Brazil, where he coordinates LaMuT, the
Laboratório de Música e Tecnologia (Music and Technology Lab). Caesar works also as
researcher at the Conselho Nacional de Pesquisa (National Research Council).
He has an extensive catalog of electroacoustic music. Among other pieces Caesar composed:
Curare in 1975; Les deux saisons and Tutti Frutti in 1976, both acousmatic works on tape
realized at GRM in Paris, France; Curare II in 1978, also an acousmatic work on tape
realized at Sistema Globo de Rádio, in Rio de Janeiro; Fragmentos Do Paraíso for two
magnetic tapes and slides in 1980; Candomblet, a multimedia piece for tape and dancer, and
Tremola Impressão, acousmatic work on tape realized at Estúdio da Glória in Brazil, both in
1981; Vibrata for tape and one percussionist, and Espiral for two synthesizers and tape, with
Vânia Dantas Leite, both in 1982 and realized at Estúdio da Glória; Mosaic Blues, computer
music for tape realized at GRM’ Studio Numerique 123 in 1983; Ricercare - Fuga for
dancers and tape, and Divertimento for DX7 synthesizer, both in 1985; Presença for cello
and tape in 1988; A carne da pedra for DAT, and Arcos I for cello and tape, both realized at
the University of East Anglia - Norwich in 1989; Neolitica and Canto, both acousmatic
pieces on CD, also realized at the University of East Anglia - Norwich, in 1990;
Canons/Chaos for CD, and Canibali for three precussionists, produced interpolating MIDI
files of Balinese music using Max software, both in 1991; Volta Redonda for CD, between
1992 and 1993; A noite em concha for CD, and Industrial Revolutions for Kurzweil K2000 or
CD, both in 1993; Nemietoia for CD in 1994; Círculos Ceifados for CD in 1997;
Divertimento IV for live electronics in 1999; Ranap-Gaô for CD in 2000; Liçoes Americanas:
Ho Ho Ho for CD and video, with Simone Michelin, Dueto 1+I for piano, CD and video,
with Vânia Dantas Leite, and Clips for CD and video, all three pieces in 2002, and realized at
his personal studio.
Some of his published research papers are: A eletrônica de uma poética em Ranap-Gaô
published in the proceedings of V Forum de Linguagens Musicais, 2002, Sao Paulo; Novas
tecnologias e outra escuta: para escutar a música feita com tecnologia recente published in
the proceedings of I Colóquio de Pesquisa e Pós-graduação da Escola de Música/UFRJ, 1999,
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Rio de Janeiro; Composição, pesquisa e a internet published in the proceedings of XI

Encontro Anual da ANPPOM, 1998, Campinas - SP; Novas interfaces e a produção
eletroacústica published in the proceedings of IV Simposio Brasileiro de Computaçao e
Musica, 1997, Brasília; Um encontro da composição com a bio-acústica via FM published in
the proceedings of X Encontro Anual da ANPPOM, 1997, Goiânia - GO; Artefatos Fm Para
A Producao de Ritmos Pseudo-Naturais published in the proceedings of III Simposio
Brasileiro de Computaçao e Musica, 1996, Recife; O zig-zag conceitual no estúdio de
composição published in the proceedings of II Simpósio Brasileiro de Computação e Música,
1995, Canela - Rio Grande so Sul; Perfil e Copacabana: dois aplicativos para a composição
eletroacústica com o protocolo MIDI published in the proceedings of VIII Encontro da
ANPPOM, 1995, João Pessoa - Paraíba. He also wrote Composição e natureza, published in
the book A doutrina dos sons de Goethe a caminho da música nova de Webern, seleção,
tradução e comentários de Marcia Sá Cavalcante Schuback, Editora UFRJ, 1999, Rio de
Janeiro.
Rodolfo Caesar also developed Copacabana and Perfil, two MIDI-based software
applications for electroacoustic music composition.
Rodolfo Coelho de Souza (born in 1952) is a Professor at Parana Federal University. He was
the International Computer Music Association Vice-President for Americas.
Among other works he composed: Chroma in 1986; Cinco Canções Japonesas in 1987;
Diálogos for tape, and Metrópolis, both pieces in 1990; Chuva Oblíqua in 1992; O que
acontece embaixo da cama enquanto Janis esta dormindo? electroacoustic music, in 1997;
Colorless Green Ideas Sleep Furiously for piano and tape in 1998; Clariagua for clarinet and
tape, and Improviso em forma de pássaro preto, both in 1999; Concerto para Computador e
Orquestra for computer and orchestra in 2000; and The Book of Sounds III: Cuica,
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Gilberto Carvalho (born in 1952) is Professor at the School of Music of UFMG in Brazil,
and Coordinator of Laboratório de Composição, Síntese e Processamento do Som - Centro de
Pesquisa em Música Contemporânea (Composition, Synthesis and Sound Processing –
Contemporary Music Research Center).
Among other works he composed: Maelstrom for MIDI piano and computer in 1994; and
Poema Negro, with Maurício Loureiro, for clarinet and electronic sounds.
Carvalho in collaboration with Hudson Lacerda were developing: MUSAS (Musical Space
Analyzer and Synthesizer). More references on Carvalho’s research could be found in chapter
VIII, section 8.2 Recent research.
Paulo Chagas (born in Salvador, Bahia, 1953) composed Air (up into the silence) for
contralto voice and tape in 1981; and Ellipse for tape in 1986. He lives in Germany.
Didier Guigue (born in France, 1954; lives in Brazil since 1982) is active as musicologist,
composer and performer.
Among other pieces he composed: Quatre fois for one (contra) bass recorder or flute, and
electronics ad lib in 1980; Vox Victiæ for tape (and piano ad lib) between 1996 and 1997; A
Quele que ficou sozinho for tape, based on poems by Augusto dos Anjos, in 1997; Loupe-
enfermoir for contrabassoon, voice and DSP, and Des Aiguilles/Quelques peignes for 8
contrabassons and DSP, both composed between 1980 and 1999.
Mauricio Alves Loureiro (born in 1954) composed On behalf for piccolo clarinet and tape
in 1991.
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Denise Garcia (born in São Paulo, 1955) composed Trem-Pássaro, part of a sound
installation, Vozes da Cidade; Um dia feito d'agua, all three works in 1993; and Infobodies
for soprano, recorded part and video in 1999.
Igor Lintz Maues (born in Sao Paulo, 1955) studied composition, electroacoustic and
computer music and musicology in Sao Paulo, The Hague, Utrecht and Vienna. He is since
1991 Lecturer at the University of Music and Performing Arts in Vienna.
Some of his works are: Good Mornig, You Have Been Selected, radio performance, 1976;
15015 for tape, 1981; Estudo sobre a letra P for electronics, 1982; Muirte Claus (in
memoriam the AIDS victims) for voice and electronics, 1983; P.R.E.M.E. for tape, 1986; Tati
for double bass, tape and live-electronics, with Catalina Peralta, Früher gab es keine Welt for
electronics, Der Schädliche Raum - Klangraum III for tape, and Der Schädliche Raum for
choreography, video, tape and two instrumental groups, with A. Sodomka and M. Breindl, all
of them 1989; Durch unsere Stadt zum Tor hinaus for tape, 1990; Tropical birds in the pet
shop for tape, and Jede Frau trägt einen Schrei, a multimedia piece, both 1991; Der Indianer
mit dem Kassettenrecorder for choreography and tape, 1989-1992; Ein/In-Aus/Out for
choreography and tape, 1992, with Helmuth Reiter; Trugklang for viola and electronics, and
Triflauto Soliloquy for flute and UPIC, both 1993; Umformung for four sound mobiles or
tape, 1994; Looking for S.R. oder die Kunst der Wirklichkeit for tape, 1995; Entstehung for
viola, piano and electronics, with N. Polymenakos, Klanggesetzt for tape, and Senderos-
Remix in Commemoration to the 80th. Anniversary of Juan Blanco, all three works 2000.
Igor Lintz Maues wrote in 1989 an interesting work about the electroacoustic music in Brazil
for his Master graduation at Escola de Comunicações e Artes, Universidade de São Paulo:
Musica Eletroacustica No Brasil. Composiçao Utilizando o Meio Eletrônico (1956-1981)
(Electroacoustic Music in Brazil. Composition with Electronic Media 1956-1981).
Lintz Maues lives in Austria.

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Wilson Sukorski (born in 1956) defines himself as "composer, electronic musician,

multimedia performer, developer and producer of musical contents for radio/video/film,
designer and builder of innovative musical instruments and digital audio researcher."
He has been composing electroacoustic music and creating music for videos and films, as
well as sound installations.
During the 80s Sukorski was developing automatic systems for musical composition, some of
his projects were Música Pessoal and Música Fractal, both Prolog-based expert systems.
Among other works he composed: MEL I in 1978, MEL II in 1979, and MEL III in 1981, all
three tape pieces realized at Laboratório de Música Eletroacústica do Instituto de Artes do
Planalto; Voice Solo for countertenor, electronic sounds and live processing of the voice in
1989; Technicki #1, his first attempt to compose cyberpunk music, and Technicki #2, both in
1993; A Batalha de Adrianopolis, and the interactive opera TemperaMental, collaboration
with Livio Tragtenberg and poet Décio Pignatari, both in 1994; Amazing Amazon, created
with genetic algorithms, in 1996; Arvore (after Walter Smetak) in 1997; music for the film
São Paulo, A Symphonia da Metrópole (SPASM), with Livio Tragtenberg, in 1997
(performing on the original film version dated 1927, directed by Adaberto Kemeny and
Rodolfo Rex Lustig); Popular Mechanics, electronic piece created using Csound, Vertigo, an
electro acrobatic, theatrical and musical performance with the Fratelli acrobats, an actress and
live electronic music, and Cognitive Dissidents for soprano, electronics, piano, keyboards and
percussion, based in the book Virtual Light by William Gibson, all three works in 1998; Suite
for Dedalus and, in collaboration with Livio Tragtenberg, the music for the film by Tata
Amaralal Através da janela in 1999;
Also by Sukorski are works like: Super Cordas, automatic ambient, installation for six big
strings; Fora da Banda project Dialogando Com o Invisível (homage to György Kepes), a
natural-reactive sound installation with MIDI sensors; Banamnemonics, primitive electro
trash music show, collaboration with Téo Ponciano; E-Romance, classics of universal
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romantic poetry performed by computers using LPC resynthesis techniques, collaboration

with Ruggero Ruschioni; Leibniz An Electronic Opera, an opera with virtual actors and live
electronics, also in collaboration with Ruggero Ruschioni.
Wilson Sukorski is an external associated at Division of Sistemas Digitais (DSD),

Laboratório de Sistemas Integráveis of University of Sao Paulo, Brazil.
Lelo Nazário (born in 1956) composed Discurso a os Objetos #2 in 1978.
Mikhail Malt (born in 1957) composed lambda 3.99 for tape in 1994.
Celso Aguiar (born in Palo Alto, United States, 1957; grew up in Salvador, Bahia, Brazil)
composed Piece of Mind for stereo tape in 1995; Ayahuasca for stereo tape in 1994; and
Todo Azul, Escrevo com Lápis Azul, Num Céu Azul for tape in 1996.
José Augusto Mannis (born in 1958) composed, among other works: Cyclone for tape in
1983; Synergie for eight tracks tape, and Synapses for French horn and live electronics, both
in 1987; Duorganum II for tape in 1989; Reflexos for marimba, vibraphone and tape, and 3
Fragmentos for Takamine MIDI guitar and live electronics, both in 1991. He also composed
pieces for radio, video and theatre.
Mannis is Director of CDMC, Centro de Documentação de Música Contemporânea

(Contemporary Music Documentation Center) at UNICAMP - Universidade Estadual de
Campinas.
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Chico Mello (born in 1958) composed Todo Santo in 1989; and IK NIH for trombone,
percussion and live electronics in 1993.
Harry Lamott Crowl Jr. (born in 1958) composed Convivium for tape in 1986.
Paulo Motta (born in Volta Redonda, 1959) composed Estudo n.o 1 para timbres
eletrônicos, Estudo n.o 2 para timbres eletrônicos, Estudo para fita magnética, piano
acústico e percussão, Estudo para fita magnética, piano acústico e percussão amplificados e
aparelhos eletrônicos, Estudo para timbres eletrônicos, piano acústico amplificado e
aparelhos eletrônicos, all five works in 1984; Nataraja and Quasar: for tape, and Estudo
para fita magnética e piano acústico amplificado, all three pieces in 1985; Axioma for tape,
micro-computer and amplified acoustic piano, Autoisi Potamoisi for tape and acoustic
amplified piano, Stelaro II for tape, Index for tape, prepared piano, analog synthesizer,
electric guitar, amplified percussion, electronic percussion and electronic devices, Uma
imagem sonora for analog synthesizers, and SoloPiano for acoustic amplified piano and
effects processor, all six works in 1986; Continuum for acoustic amplified piano and sine
wave generator, and Reindex for acoustic piano, amplified metalophone, analog and digital
synthesizers, electric guitar and digital delay, both in 1988; Interconexões I for tape, acoustic
and electronic instruments, Interconexões II for acoustic instruments, electronic instruments
and digital delay system, both in 1989; Fluxus for analog and digital synthesizers and
keyboard instruments in 1990; Campos sonoros for analog and digital synthesizers and/or
keyboard instruments in 1991; Seccionable I and Seccionable II for electroacoustic media in
1997; Colóquio for tape in 1998; Sonorus Urbis: uma trajetória histórico-sonora
eletroacústica da cidade de Juiz de Fora, de 1700 a 2000 for tape, between 2000 and 2001.
Anselmo Guerra de Almeida (born in 1959) composed Proporcões for tape in 1985; and O
Acorrentamento de Prometeu.
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Eduardo Guimarães Alvares (born in 1959) composed Estórias in 1987.
Vanderlei Lucentini (born in 1959) composed Eclipsis in 1994, and Azul in 1995, both
pieces for tape; and Walter Track 1 for performer and live electronics in 1997.
Sílvio Ferraz (born in 1959) composed Casarío, terreiro com igreja ao fundo for tape in
1995; and Graffite for dancer and two computers in 2000, collaboration with Fernando
Iazzetta.
Paulo Álvares (born in 1960) composed Zero for piano, MIDI keyboard and live electronics
in 1993.
Tato Taborda (born in 1960) composed Veredas for guitar and tape.
Luis Roberto Pinheiro (born in 1960) composed Fuzuê in 1995.
Arthur Kampela (born in 1960) composed Textórias for computer processed guitar in 1994.
Livio Tragtenberg (born 1961) has been very active composing music for films and theatre,
using both acoustic instruments, sound objects and electroacoustic media.
Among his works: Cidade das Estranhezas for tape, string quartet, sax, trombone and
percussion, 1992; Missa dos Vermes for sax and electronics, 1993; music for the film São
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Paulo, A Symphonia da Metrópole (SPASM), 1997, with Wilson Sukorski; music for the film
Através da janela by Tata Amaralal, 1999; and the interactive opera TemperaMental, in
collaboration with Wilson Sukorski.
Luiz Augusto (Tim) Rescala (born in Rio de Janeiro, 1961) composed Primeiro Estudo
Poético for four percussionists and tape in 1980; Musica para Berimbau e Fita Magnética in
1980-1981; Ponto, Linha e Plano for clarinet and computer in 1990; Midistudo for samplers
in 1991; and Midimambo for samplers in 1992.
Jônatas Manzolli (born in Olimpia, SP, 1961), composer and mathematician, is active both
as composer and researcher.
Among other works, Manzolli composed: Catedral Aquática for tape, and Welcome for tape,
voice and chamber ensemble, both works in 1987; Ajubá-Ihê for tape, flute and piano in
1988; Fractal Computer Trio for tape, trombone and 2 computers in 1989; Chaos Prologue
for computer and chamber ensemble, and Butterfliesí Wings for tape, both in 1990; Os Sete
Toques do Berimbau for tape and chamber ensemble, Servo-dança for computer controlled
piano, and Quadrilátero I for tape and computer, all three works in 1991; Mantiqueira for
tape and Turbulências, both in 1992; Similaridades Singulares, Linhas Imaginárias,
Pêndulos, SpaSoS SparSoS, Aglomerados, and Frias Latitudes, all six works for tape, in
1993; Quadrilátero III for vibraphone and computer, Luvas de Pelica I for interactive glove,
and Caminhantes for chorus and tape, also these three pieces in 1993; Névoas & Cristais for
vibraphone and computer, Quadrilátero II for interactive glove and tape, and Blue Blues for
orchestra, choir and electronics, all three works in 1995; Berocan for tape solo, and Palavras
ao Tempo for interactive poems, computer and tape, both in 1996; AtoContato for tape, dance
and interactive tap shoes, and Aqua viva, both in 1998; ETNIAS for chamber orchestra, choir,
dance, images and tape in 1999; Objetos Afetos for tape and poem in 2001.
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His research is focused on mathematical model applications of complex systems to music

composition and interactive systems. Two of his recent works are: the evolutionary
compositional system Vox Populi and the application of neuroinformatic technology in the
RoBoser project. The RoBoser system was used to compose the soundscape of Ada: the
intelligent space presented at the World Expo 02 in Neuchatel, Switzerland.
More references on Manzolli’s research could be found in chapter VIII, section 8.2 Recent
research.
Flo Menezes (born in São Paulo, 1962) composed, among other works: PAN for orchestra
and electroacoustic sounds on tape in 1985-1986; Phantom-Wortquelle; Words in Transgress
for electroacoustic sounds in 1986-1987; PAN: Laceramento della Parola (Omaggio a
Trotskji) for electroacoustic sounds in 1987-1988; Profils écartelés for piano and
electroacoustic sounds in 1988; Contextures I (Hommage à Berio) for electroacoustic sounds
in 1988-1989; Kontexturen II – Schachspiegel for electroacoustic sounds and slides in 1989-
1990; Contesture III - Tempi Reali, Tempo Virtuale for two pianos and live electronics in
1990; La Ricerca Panica di Eco for electroacoustic sounds in 1991; Contesture IV -
Monteverdi altrimenti, original version for viola, cello, trumpet, piano, synthesizer, bass
instrument (bass clarinet in B or double basse), two tapes (two channels each) and live
electronics in 1990, and definitive version for trumpet soloist and ensemble (clarinet/bass
clarinet, trombone, piano/synthesizer, soprano sax, two percussion players and two tapes) in
1992-93; A Dialética da Praia for two percussion players (ca. 70 instruments) and
electroacoustic sounds in 1993; La (dé)marche sur les grains for electroacoustic sounds in
1993; Parcours de l'entité for amplified flutes, metal percussion and electroacoustic sounds
in 1994; A Viagem sobre os Grãos for two percussion players and electroacoustic sounds
during 1993-1996; TransFormantes III for vibraphone and live-electronics in 1997; ATLAS
FOLISIPELIS, version one for oboe, English horn, oboe d'amore, membrane percussion,
electroacoustic sounds on tape and live-electronics ad libitum, and version two for two
percussion players (membrane percussion) and electroacoustic sounds (eight channels), both
in 1996-97; Sinfonias for electroacoustic sounds (eight channels) in 1997-98; Pulsares for
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one pianist (piano, prepared piano, resonance piano, ring-modulated piano, virtual piano,
harpsichord), orchestra, electroacoustic sounds (four channels) and live-electronics in 1998-
2000; Harmonia das Esferas, a pure electroacoustic version of Pulsares in 2000; Colores
(Phila: In Praesentia) for one clarinetist (clarinet in B and bass clarinet in B), one percussion
player, electroacoustic sounds (four channels) and live-electronics in 2000; Stream from
Outer Space for electroacoustic sounds, and L'itinéraire des résonances for one flutist, two
percussion players, electroacoustic sounds (four channels) and live-electronics, both in 2001.
In 1994 Menezes founded the Studio PANaroma de Música Eletroacústica da Unesp/FASM.

And in 1995 he created the CIMESP (International Electroacoustic Music Competition of
São Paulo). Menezes is currently Professor of Electroacoustic Music and Composition at the
State University of Sao Paulo (Unesp).
Sérgio Freire (born in 1962) is Professor at the School of Music of UFMG in Brazil. Among
other works he composed: Baurembi for tape in 1988; Soprando esse bambu só tiro o que lhe
deu o vento for tape in 1991; Monologue for guitar and live electronics in 1993; Delirium
tremens for cavaquinho and tape in 1997; A semente e a casca for clarinet, cavaquinho and
tape, and Improvisação sobre sons de Smetak for clarinet, cavaquinho and live-electronics,
collaboration with Maurício Loureiro, both in 1999
Antonio Celso Ribeiro (born in 1962) composed Curupira for percussion, tape and dance in
1995; and Anjos de rua for tape and actors in 1996.
Eduardo ‘Reck’ Miranda (born in Porto Alegre, 1963) is an active researcher and
composer.
Some of Miranda’s compositions are: Noises, electroacoustic solo piece, 1992; The Turning
of the Tide for prepared violin and electroacoustics, 1992; Electroacoustic Samba II,
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Electroacoustic Samba III and Electroacoustic Samba IX, electroacoustic solo pieces, 1993-
1995; Deep Resonance and Italo Calvino takes Jorge Borges on a taxi journey in Berlin both
electroacoustic solo works composed in 1993; Aquarium, electroacoustic piece, 1999; Olivine
Trees, electroacoustic music, 1994; The Flying Scotsman, Goma Arábica and Electroacoustic
Samba IX, all three electroacoustic works composed in 1995; Requiem per una veu perduda
for electroacoustics on tape, mezzo-soprano and live electronics, 1997; Grain Streams for
electroacoustics on tape, piano and live electronics, 1999; Sacre Conversazione for
electroacoustics on tape, voice quartet and live electronics, 2000; Le Jardin de Jérôme,
electroacoustic music, 2001.
Miranda lives at present in the U.K. where he is Head of Computer Music Research and
Reader in Artificial Intelligence & Music at the School of Computing, Communications and
Electronics of the University of Plymouth.
More references on Miranda’s research could be found in chapter VIII, section 8.2 Recent
research.
Edson Zampronha (born in Rio de Janeiro, 1963) works on contemporary music, musical
semiotics and musical technology. He holds a Ph.D. in Communication and Semiotics - Arts -
at the Pontifical Catholic University of São Paulo (PUC/SP).
Zampronha is Professor of Musical Composition at the São Paulo State University (UNESP)
since 1992, and is Coordinator of the Researcher Group on Music, Semiotics and Interactivity
at the same university.
He composed, among other pieces: Modeling V, electroacoustic work composed at Studio

PANaroma, in São Paulo, Brazil, between 1995 and 1996; Modeling VIII, for percussion and
computer, realized at the composer's studio in São Paulo, in 1996; Modeling XI,
electroacoustic work composed at LIEM-CDMC (Laboratorio de Informática y Electrónica
Musical - Centro para la Difusión de la Música Contemporánea) in Madrid, Spain, during
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1999; Fragmentation, electroacoustic work composed at the Laboratorio de Lenguajes

Sonoras of PUC/SP, São Paulo, also in 1999; Recycling, Collaging, Sampling, for percussion
ensamble and electroacoustic sounds, realized at the composer's studio in São Paulo during
2000; Weave Knot Flow (original: Trama Nudo Flujo), electroacoustic work composed at
LIEM-CDMC in Spain, during 2000; Modeling, with Bebel de Barros, for choreography and
electroacoustic sounds, realized at the composer's studio in São Paulo during 2001; Five
Points of Listening from a Visual Object, with María José G. Lobato, interactive multimedia
installation composed at María José G. Lobato’s studio in Madrid, Spain, during 2001;
Marble, for tuba and electroacoustic sounds, realized at Estudio de Sonido de la Fundación
Phonos - Instituto Universitario del Audiovisual of Pompeu Fabra University in Barcelona,
Spain, also during 2001; and Plucked Room, a sound installation, in 2003.
Zampronha wrote about his work Modeling VIII for percussion and computer: “The score is
generated in real time by the computer and creates another type of performance in which the
performer plays by reflex. The score is fully controlled by an arrangement of equations from
chaos theory”. And about “Weave Knot Flow”, an electroacoustic piece: “Diverse timbres are
synthesized by means of equations from chaos theory and they are used for the creation of
textures, connections and transformations of a set of sounds into another” (pieces’ program
notes - personal communication).
Also a researcher, Zampronha has been working as invited researcher at the University of
Helsinki, Finland, during 2000, and as visiting professor at the Valladolid University, Spain,
for 2002 and 2003. His main areas of work are: sound generation (new ways and conditions
for sound production), sound materials (search of rich and complex sound materials and the
laws that controls their nature), musical organization, musical signification, and musical
representation.
Zampronha wrote the book Notação, Representação e Composição - um novo paradigma da

escritura musical, published in Sao Paulo by Annablume in 2000. He is also the editor, with
Maria de Lourdes Sekeff, of Arte e Cultura - Estudos Interdisciplinares II, book published by
Annablume/FAPESP in 2002.
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Marcelo Birck (born in 1965) composed Interludiko in 1990.
Aquiles Pantaleão (born in 1965) composed Materialma in 1995; Concreta in 1997; Three
Inconspicuous Settings in 1998; in respect of ordinary things in 1999; and Vacchagotta está
onde está, ou não? for tape between 1999 and 2000.
Rodrigo Cicchelli Velloso (born in 1966) composed Latitudes Emaranhadas between 1992
and 1993; Multiple Reeds for saxophone and tape between 1993 and 1994; and “Harmônico
for piano and recorded part in 1996.
Ignácio de Campos (born in 1966) composed Expassum for tape in 1997;
Fernando Iazzetta (born in Sao Paulo, 1966), researcher, composer and teacher, developed:
GenComp, a graphic environment for creation and representation of music based on genetic
algorithms; and with Fabio Kon: MaxAnnealing, a tool for algorithmic composition based on
simulated annealing.
Iazzetta teaches Electroacoustic Music at the Music Department of the University of São
Paulo where he coordinates LAMI - Laboratório de Acústica Musical e Informática
(Computer and Musical Acoustics Laboratory) and is a Research Associate at the Graduate
Program on Communication and Semiotics at PUC-SP. His research is directed towards the
study of new forms of music technology and music interaction.
Among other pieces Iazzetta composed: Urbanas III for glass instruments, lights and tape in
1988; Momentos I, fractal music on tape, collaboration with Fabio Kon, in 1993; InterAto for
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clarinet, alto sax alto, trumpet, trombone, French horn, piano, percussion and computer
controlled interactive electronics system, and Gérmen, electronic piece generated with
assistance of GenComp software, both in 1996; Promenade for two percussionists and tape,
PerCurso and Crowd, both for tape, all three in 1997; Corda e Cabaça, electroacoustic piece,
in 1999; Graffite for dancer and two computers in 2000, collaboration with Silvio Ferraz;
Vaga for live electronics in 2001; and Tangerina for clarinet and live electronics in 2002.
More references on Iazzetta’s research could be found in chapter VIII, section 8.2 Recent
research.
Guto Caminhoto (born in 1967) composed Momento Angular in 1995; Monólogo and
Música da morte in 1996, all three pieces for tape. Also Variações para Sequencer e
Sintetizador.
Victor Lazzarini (born in Londrina, 1969) composed Vozes Dentro for tape, 1994-1996;
Noite for tape, 1995; The Trane Thing for sax and live electronics, 2000; Mouvements for
tape, 2003; And through the rhythm of moving slowly for clarinet, baritone sax, violin, viola,
cello, double bass and live electronics.
Fábio Kon (born in São Paulo, 1969) has a bachelor degree in Percussion from the São Paulo
State University, and a PhD degree in Computer Science from the University of Illinois at
Urbana-Champaign, where he studied Algorithmic Composition with Prof. Heinrich Taube.
At present Kon is Professor at the Department of Computer Science of the University of São
Paulo, in Brazil.
Fabio Kon developed with Fernando Iazzetta: MaxAnnealing, a tool for algorithmic
composition implemented in the Max programming environment.
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Kon composed some electroacoustic pieces, among them: Maricores in 1993; and Influenza
Influences in 1995. During 1994 he composed Momentos I, in collaboration with Fernando
Iazzetta. This work was one of the results of a research project about The Use of Fractal
Geometry on Music Analysis and Composition developed by Kon. The piece is divided in
four movements, each one based on distinct fractal patterns.
More references on Kon’s research could be found in chapter VIII, section 8.2 Recent
research.
Marc Lannelongue (born in 1970) composed Pendant ce temps for tape in 1993.
Many other Brazilian composers have been working with electroacoustic media to realize
their music. Because of the difficulties to find or confirm the date of birth for some of them,
they are listed alphabetically. Marlene Fernandes composed Espectros Cromáticos in
Buenos Aires, Argentina, during 1967. Silvia Matheus composed Influx for tape. Marcos
Olívio composed Diálogos in 1980. Correia Vasconcelos composed Concertante for
percussion, orchestra and tape in 1970.
There are also works involving electroacoustic media by Eduardo Campolina; Sérgio Igor
Chnee, Jaime Mirtembaum; Amaro Borges Moreira Filho; Hélcio Müller; Jamary
Oliveira; Eduardo Paiva (born in 1959); George Randolph; Antonio Carlos Tavares;
Vera Terra; Geraldo Henrique Torres Lima; and Bernadete Zagonel, to name but a few.
6.5 Chile
Juan Amenabar (born in Santiago, 1922 ; died in in the same city, 1999) started to work in
Los Peces during 1953, finishing that piece in 1957. Los Peces is an electroacoustic work
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based on tape manipulations of recorded piano sounds. Amenabar used Fibonacci series to
structure the piece.
During 1957 he co-founded the Taller Experimental de Sonido at the Catholic University, in
Santiago.
During the following years Amenabar composed several pieces using electroacoustic media:
Klesis in 1968, Música continua in 1969, Preludio en High Key and Sueño de un niño in
1970, Amacatá in 1972, Ludus Vocalis in 1973, Central El Toro for a documentary film in
1974, Contratempo, senza tempo and Juegos in 1976. After that year he kept composing
mostly for acoustic instruments.
In 1991 Amenabar founded the Gabinete de Electroacústica para la Música de Arte, also
known as GEMA, at the Arts Faculty of the University of Chile.
Gustavo Becerra-Schmidt (born in Temuco, 1925) wrote in 1957 the first article on
electronic music published by Revista Musical Chilena: ¿Qué es la música electrónica?
(What is electronic music?).
Becerra-Schimidt has been using electroacoustic media in his music since the pioneering
years. According to comments by Chilean composer Carlos Botto, some of his instrumental
works composed during the 50s already presented an approach to the typical concrète and
electronic sounds worlds.
Among other works, Becerra-Schmidt composed: Macchu Picchu for orchestra, soprano,
reciter, chorus, countertenor and audio frequency oscillator, and Juegos for piano, 12 ping
pong balls, tape and one brick, both in 1966; Concierto nº 2 for guitar with contact
microphone and echo, and Tres piezas for clarinet and tape, both in 1968; Historia de una
Provocación for chamber group and tape, in 1972; Los Sátrapas for soprano, synthesizer,
projections and instrumental group, in 1973; Corvalán for soprano, electroacoustic media and
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multimedia, in 1974; Progresiones, a multimedia work including film projections, slides and
electronic music, in 1976; Exposición concertante, interactive electronic music for 11
synthesizers and sensors, in 1980; Preludio y Balistoccata for piano and computer, in 1981;
Oda al Mar for reciter and computer, in 1986; Interior for computer, in 1987; Naechtlicher
Rat, for one actress, two actors, MIDI guitar, vibraphone and tape, in 1988; Dialog, version
for guitar, flute and tape, in 1989.
Since the early 70s Becerra-Schmidt has been living in Germany.
Miguel Aguilar-Ahumada (born in Huara, 1931) composed Texturas for piano and concrète
sounds on tape, and Composición sobre tres sonidos for tape, both in 1965.
León Schidlowsky (born in Santiago, 1931) composed Nacimiento for tape in 1956. The
piece is structured in three parts: Exposición - Desarrollo - Catástrofe (Exposition -
Development - Catastrophe).
Schidlowsky was saying about Nacimiento in 2002:
It was an experimental piece, a functional work, a piece for the Mime Theatre of
Nois Vander. The production equipment were two tape recorders where the different
sound materials were recorded. A tape loop running all through the piece with the
sound of a heart beat was the basic element used, combined with musical materials
and nature sounds then changed and distorted. I had the original idea and it was
realized with the assistance of Fernando García and my wife Sussane Schidlowsky,
who has already died.
Schidlowsky, D. (2002). Schidlowsky - Nacimiento. Email subject: Respuesta a su

pedido. Germany. [information provided by León through his son David]
Composer Fernando García, who helped Schidlowsky to realize the tape of Nacimiento
remembers:
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It was composed in 1956 as incidental music for the homonymous piece by Mime
Company of Nois Vander. My participation on that essay was only as an assistant of
León, giving to him the tools that he asked me and that we were collecting.
García, F. (2002). Schidlowsky - Nacimiento. Email. Chile
Schidlowsky also composed: Documenta 73, graphic music for tenor, tape, keyboard
instruments, percussion instruments, multimedia, 1973; Eleven Tombs-Stones, graphic music
for tape, contralto, brass quintet and percussion, 1974; Structures and One Scene for choir,
tape, percussion, multimedia, 1975; Citizen 1230316, radiophonic poem, 1976; Golem,
graphic music for seven singers and tape, 1976; and Tetralog, graphic music for tape, strings,
winds, percussion, voices, multimedia, 1977.
José Vicente Asuar (born in Santiago, 1933) was experimenting with concrète music
techniques before devoting himself to explore the possibilities of electronic sound sources in
1958.
In 1957 he proposed to write his civil engineering thesis on Generación Mecánica y

Electrónica del Sonido Musical (Mechanic and Electronic Generation of Musical Sounds); in
1958 started to build the first Electronic Music Studio of Chile at the Catholic University; and
in 1959 completed and premiered Variaciones Espectrales, probably the first piece composed
in Latin America using only electronic sound sources.
In 1961 he composed Preludio La Noche and Serenata para mi voz y sonidos sinuosidales in
Karlsruhe, Germany, where he was helping to establish an electronic music studio. He also
was working there on Estudio Aleatorio, but that piece was never concluded.
Asuar came back to Chile in 1962. In 1965 he went to Venezuela, commissioned to build an
electronic music studio in Caracas. There he composed La Noche II, Divertimento and
Guararia Repano, this last work being prized later at the international electroacoustic music
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competition in Bourges, France. During his stay in Caracas, Asuar was also working on a big
multimedia spectacle created to celebrate the 400 years of the city.
Back in Chile in 1968, Asuar started to develop a Sound Technology career at the University
of Chile. He was in charge of it from 1969 to 1972. During a stay in the United States in 1971
he composed Buffalo 71, while working at the electronic music studio of State University of
New York (SUNY) at Buffalo.
Around 1969 he became interested in the possibilities of using computers in music. In 1970,
with the assistance of professors and students of the Sound Technology career, he finished a
piece for orchestra scored with the help of an IBM360: Formas I. Another project, this time
using the computer to control electronic instruments, was developed in 1972: Formas II.
In 1978 Asuar started his own computer music studio based on what he called COMDASUAR
or Computador Musical Digital Analógico Asuar. He created several pieces using the
instrument he designed and built himself. Una flauta en el Camino (or COMDA 2), Elegía (or
COMDA 5), both 1982, En el Jardín (or COMDA 7), 1986, and En el Infinito (or COMDA 8),
1987, were all composed with that system.
Iris Sangüesa (born in Osorno, 1933) composed Integración for tape, dancer, and lines and
color projections, a piece she realized in 1968 at the Electronic Music Laboratory of CLAEM
- Instituto Torcuato Di Tella, in Buenos Aires.
In 1994 Sangüesa composed Llaman las llamas for synthesizer, piano, voice, narrator, double
bass and percussion (cymbals and tam-tam), based on a text by Chilean poet Marcos Llona.
She also composed Permanencia I for tape in 1997-1998, and Permanencia II-Espiral in
1999-2000, both pieces for tape, and realized at her home studio and at LIPM, in Buenos
Aires; and Oda a la Humanidad for 6 voices, mixed choir, chamber orchestra and tape, 2002.
Sangüesa was living in Argentina between 1985 and 2001 but is now back in Chile.
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Samuel Claro Valdés (born in Santiago, 1934; died in the same city in 1994) composed just
a few pieces; one of them was the Estudio No. 1, for tape, realized in 1960. According to
Claro it was done with very primitive elements and is structured as four small fragments or
“electronic impressions” joined with a sinewave glissando sound. Originally conceived as the
incidental music for a film, the full project was never realized.
Alfonso Letelier (born in Santiago, 1939) composed Bonatina for oboe and tape in 1970.
Gabriel Brncic (born in Santiago, 1942) moved from Chile to Argentina in 1965 to study at
CLAEM - Instituto Di Tella, in Buenos Aires. During 1966 he was working with engineer
Fernando von Reichenbach, Technical Director of the Institute, testing his new invention: the
Analog Graphic Converter. Brncic composed the electronic part of his mixed piece Dialexis
using this new device, partially similar to the UPIC system developed by Xenakis years later.
Between 1967 and 1970 Brncic was assistant professor of electroacoustic music at CLAEM.
He also began to experiment with computer applications in music, programming in Fortran.
From 1971 to 1973 he was Director of the Electroacoustic Music and Sound Lab at Centro de
Investigación en Comunicación Masiva, Arte y Tecnología or CICMAT, a lab supported by
the Buenos Aires City Government at the time. Later Brncic moved to Spain, where he is still
living.
In 1975 he started to teach composition at the Phonos Electroacoustic Music Studio in

Barcelona. Later Brncic became Director of that studio, and since 1993 is Artistic Director of
the Phonos Foundation.
Some of Gabriel Brncic works are: Quodlibet II for live electronics, and Dialexis for 8
percussionists and tape, both 1966; Volveremos a las Montañas for flute, clarinet, piano,
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vibraphone and tape, 1967; Quodlibet VIII for oboe, English Horn and tape, 1968; Batucada
amenazante para los que huyen, electronic work composed in 1969-1970; Donald Blues and
Agua, both for tape, 1971; Arpegios for tape, 1972; Música de 1973 for prepared piano,
synthesizer and tape, 1973; Chile Fértil Provincia for percussion, viola, double-bass and
tape, 1975-1976; Quodlibet 4 for piano and tape, 1976; Destierro, 1979; Cielo for viola and
tape, 1981; Triunfo por las madres de Plaza de Mayo for guitar, voice and tape, and Polifonía
de Barcelona for chamber group and live electronics, both 1983; Concierto gótico for viola
and tape, 1985; Clarinen Tres for clarinet and tape, 1986; Ciudad Encantada for tape, 1987;
Passacaglia for two synthesizers, and Historia de dos ciudades, radiophonic work, both
1988; Dulcian Concert for basoon and tape, 1989; Viaje al invierno for flute and tape, 1990;
Partita para Oboe for oboe soloist, clarinet, violin, viola and tape, 1991; Dos Esbozos para
antiguos instrumentos electrónicos for tape, 1994; … que no desorganiza cap murmuri for
recorder and tape, 1995; Vuelta de Paseo for soprano, harp and tape, 1998; Coréutica for
viola and tape, 1999; Ronde-Bosse for viola, harp, tape and live electronics, 2002;
Between 1982 and 1991, Brncic also developed some software to assist in the creation of
musical structures: Ronde-Bosse (Alto relieve).
Jorge Arriagada (born in Santiago de Chile, 1943) studied composition and orchestra
conducting in Chile. In 1967 Arriagada went to France with a fellowship, and in 1970
founded the Studio de Musique Expérimentale du Centre Américain in Paris.
During the early 70s he was working at the studios of GMEB - Groupe de Musiques
Expérimentales de Bourges, France. He also went to Stanford University, in the United
States, to study computer music. Later he devoted mainly to film music composition.
Among other electroacoustic music pieces, Arriagada created: A4 for tape, and Pièce for
violin and tape, both in 1969; Quatre moments musicaux for tape in 1970; Arriaxton,
improvisation with Anthony Braxton for sax and synthesizer, in 1972; Étude, Suite à ‘N’
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parties and Indio, all three tape works in 1972; Chile 1973 and Les Quatre Saisons, both for
tape, in 1973; and Sable et au delà for tape in 1974.
Iván Pequeño (born in 1945) composed Ahora, 1973, and Y movieron con sus alas el tiempo
estancado, 1976, both for tape.
Guillermo Rifo (born in Santiago, 1945) composed Intento for flute and tape in 1984.
Ernesto Holman Grossi (born in Viña del Mar, 1950) composed OIREB-A for tape in 1994.
The piece was realized at his personal studio.
Santiago Vera-Rivera (born in Santiago, 1950) composed Cirrus for tape in 1978 working
with sounds coming from voices, piano, ARP2600 and Moog electronic sound synthesizers,
and a fragment of Debussy piece La Mer (1905).
Fernando Carrasco Pantoja (born in Quirihue, 1953) composed NILNOVISUBSOLE for

tape, in 1994, piece realized at GEMA; and the electroacoustic piece AJAR in 2000.
Jorge Martinez Ulloa (born in Santiago, 1953) composed many pieces using electroacoustic
media, among them: A.M. for tape and radio, Ojorojo for tape, Eppur si muove for tape, and
Harmonicus for tape, all four piece 1982; Triángulo Andino for Andean aerophones and tape,
and Distribuitore di suono, both 1983; 77 Haiku for tape, and Erótica, multimedia, both
1984; Cadenas and Grappoli, both for tape, 1985; Anamorphosis for ensemble and tape, and
Omeostati, both 1986; Torre di campani virtuali and Come una Fontana, both multimedia,
1987.
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Martinez began to compose Astillas de bambú in Florence, Italy, during 1989, and finished it
in Santiago, Chile, during 1994. He used C as the programming language for this work.
Other compositions by Martinez are: Phonel for reciter, singer, synthesizers and vocoder,
1996; Forma for alto sax and tape, 1998; Leitmotiv No. 6 for cello and tape, Leitmotiv No. 7
for trombone and tape, and Unísonos for tape, all thee works 2000; Tinku for tape, and
Proteo, multimedia.
Mario Arenas Navarrete (born in Quillota, 1953) composed Búsqueda y Retorno for
recorder and tape in 1997, and Cielo Quebrantado for symphonic orchestra, computer,
animated lights and walking musicians in 1998.
Rolando Cori Traverso (born in Santiago, 1954) composed his first piece using
electroacoustic media, Trozo experimental for flute, guitar and tape, in 1981. He was at that
time a student in the Experimental Music course taught by Juan Amenabar.
In 1989 Cori composed Fiesta, for tape, at the Musikhochschule Freiburg’ studio in
Germany, while he was studying with Ecuadorian composer Mesías Maiguashca. He worked
on this piece with concrète sound sources, a multi-track tape recorder and analog
manipulation techniques. In Fiesta the composer used recordings from the Freiburg’s
carnival, Gregorian chant, traditional Chilean singing and guitar sounds.
Cori composed Variaciones sobre el himno de la Universidad de Chile for trumpets, piano,
percussion and ad libitum tape (with recorded loops from a choral and orchestral version of
the University anthem) in 1994. He realized that piece in Chile.
Bailecitos for voice, guitar, tape and projected images, was composed by Cori in 1999,
working at his home music studio at that time in Chapel Hill, North Carolina, United States.
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For the tape part he processed sound recordings, using Sample and Hold algorithms to control
their filtering, with a Kurzweil K2000 system.
At present Cori is teaching electronic music composition at the Gabinete Electroacústico para
la Música de Arte, the electroacoustic music lab founded by Amenabar at the University of
Chile.
Eduardo Cáceres (born in Santiago, 1955) composed several pieces involving

electroacoustic media: Encuentros para un fin de siglo for tape in 1984; Conga Conga for
two congas, tumba, Lexicon reverb and mixer, and La otra concertación for acoustic and
electroacoustic voice, electric bass and Indian tablas, both in 1989; Amadeus … líbranos del
mal for piano and tape in 1991; Sudales for piano, percussion and tape, Tubular II. Los
Pensamientos for bass chromatic zampoñas and tape, Timo for voices and electronically
processed percussions, Nosferatur for voices, clarinet, cello, percussions, accessories, piano
and electroacoustic processings, and Fausto for flute, sax, voices, piano, percussion,
accessories and electroacoustic processings, all five pieces in 1992; Metalmambo for tape in
1994; Nomades for processed sounds, sampler and synthesizer in 1996; and Lerulerulà for
tape or live electronics in 2000.
Félix Lazo (born in Santiago, 1957) composed Exzummo, multimedia, in 2002-2004; Les
filles du Mara, multimedia, in 2003-2004; and Earth, electroacoustics, in 2004. Lazo is a
composer and visual artist.
Boris Alvarado (born in 1962) composed Shu-Shu in 2000, and El mar estaba sereno in
2001, both realized at Studio Azul, in Viña del Mar, Chile.
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Edgardo Cantón Aguirre (born in Paris, 1963) studied composition at the University of
Chile, electroacoustic music at the Edgar Varèse Conservatory in Paris, France, and digital
arts at the Institute Phonos - Universidad Pompeu Fabra in Barcelona, Spain.
Cantón composed several electroacoustic pieces for tape: Aurora and Lovecraft, both in
1994; Preludio des élémentes, Saint Michel en Carretera Nocturna, Encuentro and Recuerdo,
all four works in 1996; and Los sueños de Attar in 2002-2003. In 1999 he composed
Memoria de los Andes II, a mixed piece for male chorus and electroacoustics.
He is at present Professor of Composition and Electroacoustic Music at the University of

Chile, in the Music and Sonology Department of the Arts Faculty.
Federico Schumacher (born in Santiago, 1963) studied music at the Faculty of Arts of the
University of Chile, electroacoustic music and composition at Evry Conservatory in France,
with Nicolàs Verin, computer assisted electroacoustic and instrumental composition at
Nanterre’s Conservatory in France, with Philippe Leroux and Jean Luc Hervé, and
electroacoustic composition at Pantin’s Conservatory, also in France, with Christine Groult.
Schumacher composed, among other works: La Senda era tan Larga, electroacoustic music
based on the homonymous poem by Vicente Huidobro, and La Música del Cuerpo,
electroacoustic music for quadraphonic media, two MIDI keyboards and real time
improvisation, both 1998; Palabras del Sur, electroacoustic music, and Música para espantar
Dictadores, for a group of eleven instrument players and amplification system, both 1999;
Ameriasia, Corazón de Látex and Gato en el Agua, all three electroacoustic music pieces,
2000; On the radio, oh, oh, oh, electroacoustic sound collage, 2001; Ayes y Lamentos… for
double orchestra, electroacoustic sounds and amplification system, 2000-2002; 100 Flores,
stereo acousmatic work, 2001-2002; Estrellas Compactas, stereo acousmatic work, 2002-
2003; Jardín de la Noche for five instruments, electronic sounds, sound objects and mobile
phones, and MingaSola I, electroacoustic music on eight tracks, 2004.
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Miguel Chuaqui (born in Berkeley, California, United States, 1964; grew up in Santiago,
Chile) composed: Hyperbole, version for flute, clarinet, violin, cello, piano and live
electronics in 1995; De Metal y Madera for flute, cello, percussion and electronic sounds in
1999; Resonance, electronic piece for modern dance choreography in 2000; Feel Free,
electronics on compact disc in 2002.
He is currently in the faculty of the University of Utah, United States, and directs the
Ussachevsky Electronic Music Studio there.
Carlos Silva (born in 1965) composed Entorno II for soprano sax and tape, 1998.
Mario Mora (born in Lebu, 1967) composed: NUD for flute and tape in 1994; SAX for alto
sax and tape in 1995; and NEXT for soprano sax and computer in 2001. All of these pieces
were produced at Gabinete de Electroacustica para la Musica de Arte (GEMA) at the
University of Chile. At present Mora is teacher as well as researcher at GEMA.
Cristián Morales Ossio (born in Arica, 1967) composed, among other works: Zampler,
mixed piece for zampoñas quartet, string quartet and tape, 1992; Cygnus for tape, realized at
GEMA, in Santiago, 1994; Oda for tenor recorder, viola and tape, 1997; Una voz for bass
flute, violin, French Horn, two double-basses and electroacoustics, 1999; Arial doble:
bifurcaciones for two pianos and live electronics, 2001; Ris-Ras, electroacoustics, 2002;
Materiales for three percussionists and tape, 2003; Tam-tam for two flutes, tam-tam and live
electronics, 2004.
Francesca Ancarola (born in Santiago, 1968) composed Arenas for tape, 1991, and Loop,
1992.
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José Miguel Candela (born in Santiago, 1968) composed, among other pieces: Multicolor II
for string quintet, flute, oboe, bassoon, two synthesizers and drums in 1992; El Pentágono for
string quartet and synthesizer in 1993; Azul for two pianos with live electronic processings in
1995; Chacabuco, electronic music for dance in 1996; Hombres en Círculo Durante el
Hechizo del Tiempo for eight strings with electronic interventions (for dance) in 1999; La
Variante, electronic piece, realized at CMT, Centro de Música y Tecnología (Music and
Technology Center) of the Sociedad Chilena del Derecho de Autor (Chilean Society for
Author’s Rights), also in 1999; Bajan Gritando Ellos, electroacoustic piece, Cuartetos de
cuerda y electroacústica para danza and Ciclo Dj: Dj1, Dj2, Dj3, Dj4, all three dated 2000;
Delta, electroacoustics, 2002; Contenedor, electroacoustics, 2002-2003; and TTK, 81 micro-
pieces for sax (soprano, alto,tenor and baritone) and electroacoustics, 2002-2004.
Cecilia García-Gracia (born in Buin, 1968) composed: Venus y Adonis and La Violación de
Lucrecia, both electroacoustics, 1999; Algo sigue su curso, electroacoustics, 2001; Omaira,
electroacoustics, and Ñanco for cello and electroacoustics, both 2002; Wérika,
electroacoustics, 2003; Territorio Incierto and Máxima Seguridad, both electroacoustics,
2004.
Paola Lazo (born in Santiago, 1969) composed Apolo - 23, electroacoustics, 1999; TOTTO,
multimedia, 2002; and Medusa II for percussion and electronics, 2004.
Juan Carlos Vergara Solar (born in Santiago, 1969) composed Golpe de Luz for tape,
realized at GEMA, Santiago, 1995; Almo for tape, 1996; Tiempo Real, and Trance.
Andrés Ferrari (born in 1971) composed Inflexiones, and Fuerzas de Roce.

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Rodrigo Cadiz (born in 1972) is an engineer and composer. Some of his pieces are: G-3 for
guitar trio and computer music, 2001; Centers, computer music, 2002; and Particles for
trombone, live electronics and digital video, 2003.
Antonio Carvallo (born in 1972) composed Nuevamente for reciter and elecronic media,
2000.
Felipe Otondo Ruiz (born in Santiago, 1972) studied music, acoustics, psychoacoustics, and
acoustical engineering in Chile and Denmark.
He composed JOJO for tape in 1998, inspired in the play JOJO by Michael Ende and
realized at the Austral University in Chile; Birds in a Cage full of silence for tape in 1999,
realized at Aalborg University in Denmark; Guitar ex Machina for electro-acoustic guitar and
4 channel tape or vice versa in 2000, and Impermanences I for solo cello and computer in
2001, both realized at the Carl Nielsen Academy of Music in Denmark; Constellations 1 for
tape, realized at the Technical University of Denmark, and Objetos Encontrados for tape,
both in 2003; Pi, multimedia, Trama for clarinet and live electronics, Zapping Zappa for
tape, Lydbillede, multimedia-installation, and Tres estrategias diagonals para una
instalación sonora, multimedia-installation, all five pieces in 2004.
Otondo was Research Assistant in Acoustic Technology, Ørsted-DTU (Technical University

of Denmark), as part of the European Comission project MOSART (Music Orchestration
Systems in Algorithmic Research and Technology), and has been working also as Research
Assistant at that University as part of the European Comission project DOREMI
(Directionally Optimised Representation of Musical Instruments).
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José Miguel Fernández (born in Osorno, 1973) composed among other pieces: El Cruce,
electroacoustics, in 1996; Resonancia de Csound in 1997; Attract for clarinet and computer
in 1999, using samplers, MIDI sequences, a pitch to MIDI converter, two digital audio
processors for echo and reverb effects, and the Max/MSP environment for control; Dual for
percussion and computer, using MAX/MSP too, and 9dn.13, an acousmatic piece, both in
2002; 76-195, electroacoustic music, in 2003; and Sincro for ensemble and live electronics,
in 2004.
Adolfo Kaplan (born in 1973) composed Tras la puerta, 2001; La Sombra del Sonido, 2002;
Les trajectoires du rêve, 2003; and Hors chant, 2004.
Oscar Carmona (born in 1975) composed Kinesis, electroacoustics, 2000; and Cygnus X-1
for piano and electroacoustics, 2003.
Roque Rivas (born in 1975) composed Happy Days, electroacoustics, 1995; and Estudio
Nocturno, electroacoustics, 2001.
Juan Parra (born in 1979) composed Tellura, electroacoustics, 2003.
Matías Troncoso (born in 1981) composed several electroacoustic pieces, such as: Vehasam,
2002; Letanía, 2003; Mitra, 2003; Corpus, 2004; En, 2004; and Nimio, 2005.
There are many other Chilean composers that have been working with electroacoustic media
in their music. Some of them are: Juan Pablo Abalo; Alejandro Albornoz; Andrés
Alcalde; Pedro Alvarez; Fernando Antireno; Francisco Concha; Sergio Cornejo;
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Marcelo Espindola; Pablo Fredes; Roberto Garreton; Mario Gómez-Vignes; Alejandro

Guarello; Nicolás Láscar; Cristián Lopez; Gabriel Mathey; José Pérez de Arce who was
using recordings of pre-Columbian instruments in some of his tape pieces, such as: Taira,
Tiahuanaco, Cuasmal II, Arica, Cuasmal III, Chinchorro and Nicoya; Jorge Sacaan.
6.6 Colombia
León Simar (born in Liège, Belgium, 1909; died in Santiago de Cali, Colombia, 1983)
composed Ahora vuelven a cantar in 1966 for a theatre play. The piece was realized in an
improvised studio in Cali.
Fabio González Zuleta (born in Bogota, 1920) is considered the first Colombian composer
to experiment and use electroacoustic media in his music. He created Ensayo Electrónico in
1965. This composition, produced using sinewave generators, is the only electronic work by
González Zuleta. It was realized at the studios of the National Radio of Bogota, with
technical assistance by Guillermo Díaz.
Blas Emilio Atehortúa (born in Santa Elena, 1933) composed Cantico delle creature, mixed
piece for bass, two choirs, winds, low strings, percussion and tape in 1965. The piece was
realized at the studios of the National Radio of Bogota, with technical assistance by
Guillermo Díaz.
Atehortúa is a prolific composer with and extensive catalog of instrumental and vocal music.
He was, as many of the relevant Latin American composers of the last decades, granted with
scholarships to study at CLAEM in Argentina. He was there during 1963-1964 and again
during 1966-1967. It was during his stay in Buenos Aires in 1966 that Atehortúa composed
Syrigma I, his first electroacoustic piece for tape. Other works by Atehortúa are: Sonocromías
for tape, also 1966; Himnos de Amor y Vida for soprano, two pianos, two percussionists and
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tape, 1967; Cuatro danzas para una leyenda guajira for tape, 1970; Elegía No. 2, a un
hombre de paz for baritone, bass, two choirs, winds, percussions and tape, and Psico-cosmos
for orchestra, percussions and tape, both 1972.
Jacqueline Nova (born in Ghent, Belgium, 1935, moved to Bucamaranga, Colombia, a few
months later; died in Bogota, 1975) is considered one of the big names among the composers
of new music of Colombia and the most active and prolific composer working with
electroacoustic media during the 60s and 70s.
Nova began her piano studies at an early age and entered the National Conservatory of Music
of the National University in 1958, where she received her Master in Composition degree in
1967. On that same year she won a scholarship to study in Buenos Aires at CLAEM.
Jacqueline Nova composed tape and mixed pieces as well as multimedia works using
electroacoustic media. After more than 25 instrumental and vocal pieces, she composed her
first works using electroacoustic media in 1968: Resonancias 1 for piano and electronic
sounds, and Oposición-fusión for electronic sounds on tape.
Dated 1969 are her works: Luz-sonido-movimiento for tape; LM-A 11 for tape, processed
voices, strings and percussion; the WZK and ? radiophonic experiences; Espacios for sound,
light, voice, movement, darkness, silence …, electronics; Resonancias 1 (second version) for
prepared piano, electronic sound clusters and distortion; Signo de interrogación for sound
recording engineer - experience with different sound sources; 14-35 for orchestra and
processed voices on tape; and the music for the theatre piece Julio César, using voices and
electronic sounds.
During 1970 Nova composed Sincronización for voice, piano, harmonium, percussion and
electronic sounds; Uerjayas (Canto de los nacimientos) for voices and electronic sounds; and
HK-70 for piano, double bass, percussion and prerecorded materials (radio tuner, electronic
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sounds and voices). Dated 1971 is Pitecanthropus for symphonic orchestra, voices and
electronic sounds.
Dated 1972 are Hiroshima, oratorio for symphonic orchestra, countertenor, contralto, 16
female voices, choir and electronic sounds, and Omaggio a Catullus, for percussion, piano,
harmonium, spoken voices and electronic sounds. Also from that year is one of Nova’s best
known works: Creación de la tierra (also known as Cantos de la Creación de la Tierra) for
processed voice on tape. The only sound material for this piece comes from an original text
by people from a community of the northeastern region of Boyacá, in Colombia, and speaks
about Earth creation. This tape piece was produced at Estudio de Fonología Musical of the
University of Buenos Aires, Argentina.
Nova composed in 1974 the electroacoustic music for the film Camilo el cura guerrillero by
Francisco Norden, and also for Las camas, an installation by sculptor Feliza Bursztyn
presented at the Modern Art Museum from Colombia.
Jacqueline Nova directed Asimetrías, a radio series with 22 sessions of new music analysis
broadcast by the National Radio in Bogota (Radiodifusora Nacional) between 1969 and 1970.
During those years she also was lecturing and writing articles on new music and
electroacoustic media as well as organizing concerts.
Francisco Zumaqué (born in Cerete, 1945) composed several pieces using electroacoustic
media, as Improvisación for woodwinds and tape in 1972; Pikkigui (canto al chontaduro) for
tape in 1974? and Cantos de Mescalito for baritone, percussion, tape and synthesizer in 1975.
Lucio Edilberto Cuellar (born in Santafe de Bogota, 1954) have been studying and working
in the United States since 1979. He works actively with sound synthesis, algorithmic
composition and multimedia.
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Some of his works are: Suite sudamericana, tape piece for a dancer produced at the
Electronic Music Lab of Georgia State University, United States, 1990; Relojes cósmicos
bailando al son de una cadencia celestial, tape work for a modern ballet group produced at
the same lab, 1992; 9 para 3 for tape, guitar and piano, produced at Robert Scott Thompson’
studio in Atlanta, Georgia, also 1992; Tangaku, an algorithmic (computer calculated) piece
for 2 guitars and flute or 3 guitars, 1993; A Armero for alto sax, live electronic processing and
computer generated sounds on tape, and En el principio, tape piece with computer generated
sounds for a dancer, both 1995; the 1996 video-multimedia Metamorfosis I, and Entre
Realidades for guitar and live electronic processing, 1997, were all realized at the studios of
the Center for Experimental Music and Intermedia of North Texas University, United States.
Androide for computer generated sounds on tape, and Suite for flute, trumpet, two
percussionists, piano, cello and computer generated sounds on tape, both 1998, were
composed at Cuellar’s home studio in Denton, Texas. The video-multimedia Metamorfosis II,
2000, was realized at the Center for Experimental Music and Intermedia of North Texas
University.
The tape part of Estruendos, for computer-processed and generated sounds on tape, guitar
and symphonic orchestra, was realized at the composer’s home studio in 2001. Also Tierra
vieja y tierra nueva for computer-generated and processed sounds on tape, 2002, was realized
at Cuellar’s studio. Alele oioa, computer-generated and processed sounds on tape for video-
multimedia, was produced at the composer’s home studio (audio part) and at North Texas
University (visual part) in 2003.
Cuellar wrote an historical approach to electroacoustic music in Colombia: The Development

of Electroacoustic Music in Colombia, 1965-1999: An Introduction, published by Leonardo
Music Journal in his volume 10, 2000 (International Society for the Arts, Sciences and
Technology. United States: The MIT Press).
Andrés Posada (born in Medellín, 1954), a prolific composer of instrumental music, also
composed using electroacoustic media: Catenaria for tape between 1989-1990; Rotaciones
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for tape in 1990; Benkos, a piece for dance, with 5 actors and electroacoustic music on tape in
1992; and Esa vana costumbre, electronic music for dance, in 1998.
Posada was the founding director of the Laboratorio Colombiano de Música Electrónica
Jacqueline Nova (Electronic Music Lab Jacqueline Nova), located at the Autonomous
University of Manizales, since 1989 until 1992. This is one of the first electroacoustic music
labs founded in Colombia.
Mauricio Bejarano (born in Bogota, 1955) is Associate Professor at the Conservatory of

Music, National University of Colombia, where he teaches Music Creation, Acousmatic
Music and Soundscape.
He has been exploring different creative fields including graphic arts, painting, poetry,
sculpture, as well as acousmatic music.
He has created radiophonic artworks, sound installations and electroacoustic music. Among
other works Bejarano composed: Aparato I for tape in 1990; Cage, with Ricardo Arias,
Roberto García and Juan Reyes, a three hours long radiophonic work realized at UN Radio
(Universidad Nacional – National University) in Bogota, Colombia, in 1992; Música y
Espacio, radiophonic work, in 1992, boadcasted by Emisora Javeriana; Negro Liminar, and
octophonic interactive work premiered at Planetarium of Bogota, and Jagua(r) for tape, both
in 1995; Aguas Urbanas, Aguas Faunas for multitrack and interactive system, and Tierra de
Navegación both in 1996; Esquisios (Sketches), realized at GRM in Paris working with the
Syter system and in his private studio in Bogotá, bewteen 1994 and 1998; D’agua, also
realized at GRM with the Syter, Paisajes mínimos, Clepsidra #1, Clepsidra #2, all four
pieces in 1997; Sín título No.1, Faúnica, Primer palimpsesto, Phonocamptica prima and
Cuatro postales de Bogotá (1.Interior; 2.Reloj; 3.Pasaje; 4.Estación) all five pieces in 1998.
Bejarano also wrote several articles and essays about electroacoustic music. Some of them
are: Acusmática, un arte de laboratorio, Ciencia y Tecnología, Colciencias, Bogota, 1996;
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Música Concreta, el arte de los sonidos fijados, 1948-1998, on A Contratiempo #10, journal
of the Ministry of Culture, Bogota, 1998; Paisajes sonoros, Tarjetas postales y mermeladas,
published on the book La imagen de la ciudad en las artes y en los medios, Universidad
Nacional, Bogota, 2000.
Together with Roberto García and Juan Reyes, Bejarano produced the 33 años de Música
Electroacústica Colombiana CD, a research work including historical pieces by González
Zuleta, Atehortúa, Feferbaum and Jaqueline Nova, together with compositions with the new
generation of composers.
An active promoter of electroacoustic music, he organized many concert series and events as:
Anagrama, 1993 and 1995; La Primera Oreja, 1997; and La 3ra. Oreja, 1998 and 1999.
Gilles Charalambos (born in St. Etienne, France, 1958), a well-known video artist living in
Colombia, has also been working with electroacoustic media in his work. An example is:
Avalancha desde la edad de piedra, video-art, 1990.
Roberto García Piedrahita (born in Bogotá, 1958) studied piano and music pedagogy at
Universidad Pedagógica Nacional de Colombia. In 1981 he moved to Barcelona, Spain, to
study electroacoustic music composition at Fundació Phonos with Chilean composer Gabriel
Brncic.
With Ricardo Arias and Luis Boyra, García founded in 1986 the group Sol Sonoro, devoted
to improvising with electroacoustic media. Sol Sonoro performed in several festivals in
Spain, France and Colombia.
Since 1993 is professor at the Conservatory of the National University of Colombia in

Bogota, where he coordinates the activities at the Musical Computing and Electroacoustics
Lab.
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During 1998 and 1999 he was working at the Ministry of Culture of Colombia at the
Communications Department.
He has been very active organizing concerts and electroacoustic music activities during the
90s. Together with Ricardo Arias and Inés Wickmann he organized in 1995 the Primer
Festival De Los Tiempos Del Ruido, a multidisciplinary competition held in Cali and Bogota,
with lectures, concerts and a sound art expo at the Planetarium of Bogota. La Primera Oreja
(1997), La Tercera Oreja (1998 and 1999) and Libre Improvisación are some of the concert
series he was co-organizing too.
García composed among other works: La distancia mas recta entre dos puntos es una línea
corta and Martes 13 both in 1995; …del verbo… in 1996; No, in 1997; …del imperativo for
tape during 1996-1998; MASsIVER! and XXiXCVii both in 1998; PA(I)S-AJES, together with
Mauricio Bejarano, also in 1998; and PinPon Romero.
García also created some radio events and sound art, sometimes together with Reyes and
Bejarano.
He also developed computer programs for real time sound manipulation and score and
graphics generation.
With Mauricio Bejarano and Juan Reyes, García produced the 33 años de Música
Electroacústica Colombiana compact disc, a research work including historical pieces by
González Zuleta, Atehortúa, Feferbaum and Jaqueline Nova, together with compositions of
the new generation of composers.
Arturo Parra (born in Bogota, 1958), guitarist and composer, obtained a doctorate in music
from the Université de Montréal in 1998
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On a recently released CD (Parr(A)cousmatique: Mixed music for guitar and tape), he played
the guitar on five mixed works he created in collaboration with other composers. With
Stéphane Roy, La basilique fantôme, dated 1998-2000; with Mauricio Bejarano, D’or et de
lumière, dated 1997-2000; with Francis Dhomont Sol y sombra… L’espace des specters,
dated 1998-2000; with Gilles Gobeil, Soledad, dated 1998-2000; with Robert Normandeau,
L’envers du temps, dated 1998-2000.
Parra settled in Canada in 1989.
Composer Juan Reyes (born in Barranquilla, 1962) obtained degrees in Mathematics and
Music Composition from the University of Tampa, in the United States. He also studied
computer music at the Center for Computer Research in Music and Acoustics (CCRMA) in
Stanford University with John Chowning, Perry Cook and Chris Chafe.
Reyes has been professor of Music and Arts at Universidad de los Andes in Santafé de
Bogotá, Colombia. His main research interests, worked in conjunction with the College of
Engineering at Los Andes University, expanded from digital sound synthesis to signal
processing, physical modeling, spectral modeling, algorithmic composition and lately
expression modeling. More references on his research could be found in chapter VIII, section
8.2 Recent research.
During the 90s Reyes was active promoting computer music in Colombia. He served since
1989 as co-organizer of the International Contemporary Music Festival of Bogotá, held every
two years. From 1993 to 1997 he organized the first, second and third Acousmatic series of
Santafé de Bogota.
Among other works, Reyes has composed: the incidental music for a multimedia drama
based on Albert Camus' Caligula, and El Paseo Bolivar (Música por computador para el
oyente desprevenido), a set of variations based on popular Colombian themes, both in 1988;
Dialogos por Paz in 1990, in memory of the assassinated political leader of Colombia, Luis
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Carlos Galán; Las Meninas for tape, in 1991, as part of an intermedia happening for dancers,
actors, painter and electronic media, based on the Velazquez masterpiece painting of the
same name; Homenaje a Cage, with Ricardo Arias, Mauricio Bejarano and Roberto García, a
three hours long radiophonic work realized at UN Radio (Universidad Nacional – National
University) in Bogota, Colombia, in 1992; Rocas, for tape, in 1993; Boca de Barra, a piece
with sonic events based upon visual images produced by elements and objects of a natural
landscape in 1994; Choi-Hung, for tape, composed in 1996 at MOX - Advanced Computing
Center at Los Andes University in Bogota; Straw-berry, for tape, composed in 1997 also at
MOX; SanSounds, realized between 1998 and 1999 at MOX too; Joselito, for tape, in 1998;
SygFrydo, a digital media composition generated by means of physical, spectral and
expression modeling, in 1998; ppP, composed between 1999 and 2000 working with physical
modeling of piano; Los Vientos de Los Santos Apostoles, sound installation, in 2000;
Oranged (Lima-Limon) and Wadi-Musa (or the Monteria Hat), both in 2001; Chryseis and
Feather Rollerball, both in 2002.
Lately, Reyes has been living in California and Colombia on and off.
Guillermo Carbo (born in Barranquilla, 1963) composed, among other pieces: Trípode for
double bass, tape and electroacoustic device in 1992; Cordales for string instruments and
tape; and Frecuencia modulada.
Catalina Peralta (born in Bogota, 1963) studied music in Colombia and Austria. She is at
present professor of Acoustic and Electroacoustic Compostion at Universidad de los Andes in
Bogota.
Among other works Peralta composed: Monólogo nr. 1 for magnetic tape in 1988; Episodios
sin conexión en la vida de un artista, also for magnetic tape, between 1988 and 1989;
Monólogo en la ciudad muerta nr. 2 for flute, magnetic tape, double bass and percussion,
Tati -niveles- for double bass, magnetic tape and live electronics, based on texts by Edgar
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Plata, and Through the space, hearing your voice. Phantasmagory of oscillating voices I for
two magnetic tapes in a quadraphonic system, all three pieces in 1989; Recitativo elettronico
I for viol, tape and live electronics, between 1989 and 1990; Exploración I op. 17 for flute
accompanied by itself (live electronics), in 1990; Réquiem sobre una muerte imaginaria for
flute and live electronics, in 1991; Recitativo elettronico II for magnetic tape, between 1995
and 1996; Soliloquio del Retorno for percussion and tape, between 1996 and 1997; Recitativo
III per due istrumenti, viol and cello with live processings, between 1990 and 1998;
Soliloquio del Retorno II, IIb y IIc for tape, between 1997 and 1999; Turtur-Tetrix... casi un
diálogo allá afuera for tape, and De Igitur o La Locura de Elbehnon: Estudio Antiguo-
Introducción for tape (computer music, narrator-baritone, and live processing of viol and
cello), both between 2000 and 2001; ...Per Duo Basso, quasi recitativo for cello and double
bass with ad libitum amplification, in 2002.
About her piece for flute and live electronics, 1991, revised 1999, Réquiem sobre una muerte
imaginaria (Requiem on an Imaginary Death) Peralta wrote:
This work is dedicated to flutist Gabriel Ahumada. It was first performed on January
24, 1991 with W. Musil providing the live electronics and with the support of the
Institute of Electroacoustic and Experimental Music of the Upper School of Music
and Representational Arts of Vienna … The work is structured in eight
interconnected sections. The first part becomes a solitaire symbol in which the flute
talks to itself in three voices and the sound is transformed through extension
techniques that lead it to the naturale. The Cadence in solo, con moto, of the third
section is preceded by isolated sonorous gestures and ascendant glissandos and
provides the impulse for the live electronic responses in tunnel up. Conversely,
tunnel down, provides the framework for the end of the fourth part, pedal. Sustained
notes intertwine and create dialectic tensions in the instrument in confrontation with
the electronic reaction. A rhythmic presto, gives way to an undulatory movement that
becomes diluted in a disappearing space.
Peralta, C. (2003). Program Notes. [personal communication].
Germán Toro (born in Bogota, 1964) composed Vocal I for tape in 1990, and Estudio de
ruidos y campana, also for tape, in 1996.
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Harold Vasquez-Castañeda (born in Cali, 1964) composed Desértico for clarinet and
electronics in 2000.
Ricardo Arias (born in Bogotá, 1965) is a composer and performer interested in

improvisation and collective composition.
With Roberto García and Luis Boyra he founded in 1986 the group Sol Sonoro, devoted to
improvising with electroacoustic media. The group performed in several festivals in Spain,
France and Colombia. Since 1996 Arias lives in New York where he is active performing and
improvising music mixing acoustic sources and electronic media.
Among other works, Arias composed: Nos Vidrios for tape and amplified glass in 1986,
realized at Phonos, Barcelona, Spain; Pterodáctilos, with Roberto García, for tape, also in
1986; Ondas de silencio y de constelaciones, with Sol Sonoro group, for tape, live electronics
and slides, realized at Phonos in 1987; Un Pan Que Se Exprime, with Roberto García, for
tape, and Gertrudis for two voices, live electronics, video camera and television, both pieces
also realized during 1987 at Phonos; Ad-hoc (dos camellos) for tape, Spiralling for tape and
amplified objects, SIOPE, with Luis Boyra, Roberto García, Carlos Gómez and Gabriel
Jakovkis, for live electronics and voice, and SOPAS, with Sol Sonoro, for tape, amplified
glass, water, anilines, lights, etc., all four pieces in 1988; daffodil for tape in 1989, realized at
C.I.E.J. in Barcelona; Idea Fixa, with Sol Sonoro, for three computers controlling at least
three sound sources, in 1990; Homenaje a Cage, with Mauricio Bejarano, Roberto García and
Juan Reyes, radiophonic work (three hours long), in 1992, realized at UN Radio (Universidad
Nacional - National University), Bogota; Acción Patriótica, radiophonic piece, 1993, also
realized at UN Radio; Pataplankton for tape, between 1987 and 1994; 94 elecciones for tape
in 1994, realized at Colcultura, Bogota; Miscelánea en General for interactive mapófono and
three electroacoustic improvisers in 1999, realized at Harvestworks, New York; Hevea
brasilensis for two CDs and amplified objects in 2000, realized at Música Superficial, New
York; Miscelánea en General, interactive installation for two compact discs, three tape
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recorder heads and computer in 2001; and Chiribiquete for 42 audio channels, 16
loudspeakers and five electroacoustic improvisers, realized at Engine 27, New York, in 2003.
Some of Arias’ writings are published in Experimental Musical Instruments and Leonardo
Music Journal.
Rodolfo Acosta (born in Santafe de Bogota, 1970) composed among other works: Si tan solo
fueramos libres for tape in 1993; Carceris Tonalis for amplified objects with live electronics,
electric guitar with live electronics, 2 percussion groups, 2 amplified guitars and 3 amplified
voices, in 1995; In abyssus humanæ conscientiæ for tape, and La muerte de Stephen Albert
for flute and optional live electronics, both in 1996; Suspensión 1, a mixed-media piece for
flute, tape and live electronics between 1995 and 1998; Us a calm mystery? for tape, and
Doft: for bass clarinet, percussion and live electronics, both in 2000.
Ricardo Escallón (born in Bogota, 1971) is composer and professor of sound design and
audio post-production for movies at the Film and TV Department of the National University
of Colombia. He also teaches audio post-production in the Audio Engineering program at the
Javeriana University in Bogota.
Among other works Escallón composed Gracias! Dalila for tape, 1996.
Ana Maria Romano (born in 1971) studied composition at Universidad de los Andes in
Bogota.
Among other pieces she composed: Carreras de aves y pájaros for tape, in 1995; Umbrales
II for tape, in 1996 (revised in 1998); Espacios de tiempo for tape, in 1997; Eco y reflejo for
tape and two percussionists, in 1977; Eco sin reflejo for tape, in 1998, all these five pieces
were produced at the Estudio de Composición e Investigación Electroacústica at Universidad
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de los Andes; Como el sueño, sigiloso contempla el silencio for mezzo-soprano, Yamaha
AN1x synthesizer and live electronics, in 1998-1999; Sin coincidencias for tape, in 2002-
2003; Sin coincidencias II for feminine voice and live electronics, in 2003.
Roberto Brandawayn Bacal (born in Bogota, 1972) composed La versión semioficial de

Crick-Crack-Chomp-Chomp between 1995 and 1997.
Andrés Burbano (born in Pasto, 1973) composed among other works: Therem-in in 1997; -e
xtensión in 1998, and Silencios, among other pieces.
Jorge Gregorio García (born in Bogota, 1975) composed Lusitania for tape, 1997; and
Pieza electroacústica No. 2, 2004.
Olga Godoy (born in Bogota, 1975) composed Fin in 1997, and NN No. 1 in 1998.
Alexandra Cárdenas (born in 1976) composed Salute Per Aqua for electroacustic sounds
and image, 2003; desde el primer trazo for percussion ensemble and multimedia, 2003; and
Needle Battle for electroacoustic sounds, 2004.
Santiago Lozano (born in 1976) composed: La guerra y la salud, electroacoustics, 1999;

Palinuro, for orchestra, tape and two narrators, based on a text by Fernando del Paso, 2001;
Responsorio, 2004; and Móviles for flute, electric guitar and live electronics; (Dial) La Place,
interactive PC composition; Música de viento and Responsorio, both electroacoustic pieces.
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Daniel Zea (born in 1976) composed Cambuche, 2004.
Ramiro Muñoz (born in Bogota, 1977) composed Una esquina para Poe in 2000, and
Efervessencias in 2002.
Germán Osorio (born in Bogota, 1977) composed Meridiano in 1997, and Estudio para
piano No. 1 in 1998.
Juan Pablo Carreño (born in Bucaramanga, 1978) composed Amarilla al sol, 2004.
Alejandro Olarte (born in Bogota, 1978) composed Veneno in 1997, and Tres Opúsculos in
1998.
Daniel Felipe Leguizamón (born in Bogota, 1979) composed several pieces using
electroacoustic media: Espejismos and Agresión y lamento, both 2002; Canto and Canto
Fúnebre, both 2003; Vivo, Insulsa and La Macarena, all three in 2004.
Many other composers have been using electroacoustic media in their music. Omaira
Abadia composed Rostro de cariátide in 1990. Fabio Fuentes composed Pieza para oboe y
computador. Victor Hernandez composed El designio de la paz. Andrés Pinzón Urrea
composed LotéoFAGOI. Héctor Wolfgang Ramón composed Diraes in 1994. Andrés
Rojas composed Ce sont des rèves liquides.
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Luis Boyra, with Ricardo Arias and Roberto García, founded in 1986 the goup Sol Sonoro
devoted to improvising with electroacoustic media. The group performed in several festivals
in Spain, France and Colombia. Among other works he composed: Ondas de silencio y de
constelaciones for tape, live electronics and slides, with Sol Sonoro, realized at Phonos,
Barcelona, Spain, in 1987; SIOPE for live electronics and voice, with Ricardo Arias, Roberto
García, Carlos Gómez and Gabriel Jakovkis, and SOPAS for tape, amplified glass, water,
anilines, lights, etc., with Sol Sonoro, both pieces in 1988; and Idea Fixa, with Sol Sonoro,
for three computers controlling at least three sound sources, in 1990.
Alba Fernanda Triana Orozco (born in Bogota) studied composition at the Music
Department of the Pontificia Universidad Javeriana of Bogota, and at the California Institute
of the Arts in the United States. She has taught music theory and composition at Javeriana
and Pedagógica universities in Bogota, and coordinated the Music Theory department at PNB
- Ministry of Culture of Colombia. At present she is at the University of California in San
Diego for her PhD studies. Some of her pieces are: Una Jugada de Dados Jamás Abolirá el
Azar, 1996, including piano, a percussion group, spoken voices with live electronic
processing and spatialization, mounted in collaboration with Rolf Abderhalden; A la Mesa,
1998, interdisciplinary performance, based on Texto de Electra by German writer Heiner
Müller, including music, movement, text and spatialization (premiered the same year in Cerro
de Monserrate, Bogota); Bedroom, 2000, an audiovisual Internet piece; Estudio No. 1 for
recorded electronics, and Heart Piece, interdisciplinary performance based on the text Heart
Piece by Heiner Müller, integrating music, movement, text, video and spatialization, where
the music part includes recorded electroacoustic music, live sound transformations and
interactive languages, both 2001. She also composed, with Luis Fernando Henao (born in
1967), Suite Logique for DAT tape, 1992.
There are also works involving electroacoustic media by Guillermo Gaviria, Francisco
Iovino, Gustavo Lara and Gustavo Parra.
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6.7 Costa Rica
Luis Diego Herra (born in San José de Costa Rica, 1952), mostly known by his chamber and
orchestral music, composed Hálitos for brass quintet and tape in 1982, receiving in 1984 the
National Prize for this work.
Herra is also a conductor and educator, and has been teaching composition, musical analysis,
orchestra and choir conducting, and computer music basics. From 1995 to 1999 he was Dean
of Fine Arts at the University of Costa Rica. He is also a founding member of Centro de
Música Contemporánea de Costa Rica (Contemporary Music Center).
Some of his recent works are: Olimpia, 2002; Señales and El pescador y la muerte, both
2003; Zurquí and Rinocerontes, both 2004.
Alejandro Cardona (born in San José de Costa Rica, 1959) studied composition privately
and at Harvard University from 1977 until 1981. He also earned a Master degree in image
synthesis and computer animation from Portsmouth University and the Utrecht School of the
Arts.
Some of his pieces are: Lamento, for CD, 1997; Esperanza and Celebración, both for CD and
composed in 1998; América Angostura (gentes y paisajes imaginarios) and Texturas, una
ventana a Centroamérica, both interactive sound installation created in 1999.
Otto Castro (born in San José de Costa Rica, 1972) is an active composer that has been
working with electronic and concrète sound sources in his music.
Castro has been composing music for theatre, performance shows and video using
electroacoustic technologies and techniques. Some of his works are: Fotos 1, 1997; TV 1 and
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Espirales, both 1999, Jardín Tóxico and Encuentros Televisivos, both 2001, and Arquetipos
Marinos, 2004. In 2002 he directed and composed the music for Mala Fe, a 60 minutes
performance with electroacoustic music, projections, texts and dance, created in collaboration
with poet Luis Chávez, dancer Humberto Canessa and plastic artist Lucía Madríz.
Also active promoting electroacoustic music and new media in Costa Rica, during August
2003 Otto Castro organized the first Electro Music World Fest, and during the following year
the Festival Fusión CR 2004.
Carlos Castro (no place or date of birth information available), president of Centro de
Música Contemporánea de Costa Rica, composed Gobierno de Alcoba, an opera for tape and
four singers that received the National Prize for Music in 1992.
Autoperro defines itself as a paramusical entity devoted to electroacoustic music. It was

founded in 1980 at the School of Architecture by Fernando Arce and Mauricio Ordóñez
(on the musical side) together with Douglas Morales.
Some of Autoperro’s works are: RaDio PLDíN, 1996-2002; ZaRGZS; HuMDL;

BSTRFeDÛN, TXaLPART, KurSSK, TeRMNL, eXCS, CaNGR SoP, aNTICoMB, aLGo PoDR
2, and MeTRóPoLiS, all of them 2002.
6.8 Cuba
Cuba has been an active place for electroacoustic music for many years.
Argeliers León (born in 1918) composed Saturnalia for tape in 1984.

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Juan Blanco (born in Mariel, 1919) has been the main force around the development of
electroacoustic music in Cuba.
In 1942 Blanco registered at the patent’s office the description and design of a new musical
instrument he named Multiórgano, based on 12 loops using magnetophonic wires (magnetic
tape recording was in development at that time) with chromatic recordings of voices or any
instruments. This predated the Mellotron by many years, but the original instrument invented
by Blanco was never built.
Blanco composed his first electroacoustic piece for tape in 1961 using one oscillator and tape
recorders: Música para danza. He composed between 1961 and 1962 Estudios I y II, between
1962 and 1963: Ensamble V, and during 1963: Interludio con Máquinas and Ensamble VI, all
of them for tape. Between 1963 and 1964 he composed Texturas, a mixed work for orchestra
and tape.
In 1964 Blanco organized the first public concert with electroacoustic music in Cuba at
Unión Nacional de Escritores y Artistas de Cuba, premiering his works: Estudios I y II and
Ensamble V.
During the 60s Blanco began to create electroacoustic music for mass public events and large
public spaces. Some examples are: Música para el Quinto Desfile Gimnástico Deportivo for
symphonic orchestra, sound toys group and tape, dated 1965; Ambientación Sonora, tape
work played through a special network for spatial sound distribution (designed by Blanco
with the assistance of engineer Eugenio Besa) at the Cuba Pavillion of Expo 67 in Montreal,
Canada, dated 1967; Ambientación Sonora, a five-track work played during 30 nights along
the Avenida La Rampa during the Congreso Cultural de La Habana, dated 1968;
Ambientación Sonora, another five track work played during 30 nights along the Avenida La
Rampa during 30 nights con motivo del centenario de V. I. Lenin, dated 1970; and
Ambientación Sonora, a multiple-tape work (12 tracks in total) played at the Cuba Pavillion
of Expo 70 in Osaka, Japan, dated 1970.
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Other pieces composed by Juan Blanco during those years are: Poema Espacial No. 1 (Las
Lomas) for three tracks tape, 1967; Poema Espacial No. 2, 1967, and Poema Espacial No. 3
(Dai Viet), 1968, both for four tracks tape; Contrapunto Espacial No 2 (Erotofonías I) for
two string orchestras of 30 players each one, five percussion groups, guitar soloist, sax soloist
and tape, 1968; Contrapunto Espacial No 3 for 24 instrumental groups distributed around all
the theatre, 20 actors, one child, soloist sax and two tapes, 1969; Poema Espacial No. 4 (26
de julio), 1969, and Poema Espacial No. 5 (Viet Nam), 1970, both for four-track tape; and
Imprecación for two wind orchestras, 10 groups with percussion instruments and four tracks
tape, 1970.
After many attempts to start an electronic music lab at Instituto Superior de Arte (ISA) during
the 70s, Blanco was appointed director of a small studio at ICAP in 1979. Many of the today
well known Cuban composers were learning and experimenting at the ICAP studio under the
guidance of Juan Blanco.
The first LP with music by Blanco is Música Electroacústica, released by EGREM during the
mid 80s and featuring Cirkus Toccata, a piece for tape and two percussionists (playing pailas
and tumbadoras) dated 1984; Tañidos for tape, dated 1983; and Espacios II for tape and
guitar, dated 1986.
Two pieces that were also composed during that period are Suite de los Niños for tape, 1984,
produced at the studios of the Groupe de Musique Expérimentale de Bourges (GMEB), and
Suite Erótica for tape, 1979-1986, a long piece that Blanco built using three previous works.
Both were released on a second LP in 1987.
The International Electroacoustic Music Festival Primavera en Varadero was launched by

Blanco during the mid 80s. This was a major help to introduce computer music in the island,
as well as some hardware and software essential to it. The time for computer music had
arrived then in Cuba.
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During the early 90s Blanco got a NeXT computer and began to compose with it. Contrastes
I, Paisaje, Variantes I and Treno por las Víctimas del Estrecho de la Florida, 1992,
Contrastes II, Cinco Epitafios and Loops, 1993, Para Enterrar la Esperanza and Variantes
II, 1994, are some of the pieces he composed using that system.
The Ministry of Culture assumed responsibility of the ICAP studio during the early 90s and
renamed it Laboratorio Nacional de Música Electroacústica (LNME).
Juan Blanco composed around 100 pieces using electroacoustic media, both for tape as well
as mixed works, using spatial distribution of the sound sources in large open spaces in many
of them, and developing complex multimedia installations and spectacles. A prolific
composer, teacher and researcher, he was the Honorary Director during the International
Computer Music Conference (ICMC) held at Havana in 2001.
Among Blanco’s recent pieces are: Espacios IX, composed between 1999 and 2000,
Microtonales, 2000, and Microtonales II, 2001, all of which are works for computer or tape
and live Theremin; and Tecnotrónicas for Theremin, computer and live electronics,
composed with Edesio Alejandro in 2002.
The electronic music production of Aurelio de la Vega (born in Havana, 1925; living in Los
Angeles, California, United States, since 1959) was closely related to the Electronic Music
Studio at California State University, Northridge, which he founded and directed from 1962
to 1992. Two purely electronic music works were composed there by de la Vega: Vectors
(monaural tape, 1963) and Extrapolation (stereo tape, 1981). His works for instruments and
pre-recorded electronic or electronically treated acoustical sounds include: Interpolation, for
clarinet and stereo tape, 1965; Tangents, for violin and stereo tape, 1973; Para-Tangents for
C trumpet and stereo tape, 1973; Inflorescencia (Inflorescence) for soprano, bass clarinet and
tape, based on a poem by the composer, 1976; and Asonante (Assonant) for soprano,
dancer(s), flute, trumpet, trombone, piano, violin, cello, double bass and stereo tape, also
based on a poem by the composer, 1985. Revista Musical Chilena published in 1965 his
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article En torno a la Música Electrónica (Regarding electronic music) where he explains

some of his thoughts about electronic music, speaks of Vectors (that is the last expanded
movement of a piece entitled Coordinates, which is no longer in his catalogue of works), and
tells about the equipments at that time of the aforementioned studio. At present, Aurelio de la
Vega is Distinguished Emeritus Professor of California State University, Northridge, where
he taught music composition for thirty three years.
Héctor Angulo (born in Santa Clara, 1932) composed, among other works: Otra vez Jehová
in 1967; El metro, La curva and Mutatis mutandi, all three electroacoustic pieces in 1969;
and Bucólica, with Juan Marcos Blanco, for sax and tape.
Carlos Fariñas (born in Cienfuegos, 1934; died in Havana, 2002) was also a big name in the
Cuban musical world as well as in the international scene.
He started to experiment with electroacoustic media during the mid 60s. During 1972 he
composed Diálogos, for tape, together with Sergio Barroso. In 1975, commissioned by the
National Ballet of Cuba, Fariñas composed Yagruma for symphonic orchestra, with 11
percussionists, and electroacoustic media. In 1976 he presented his electroacoustic piece
Corales at the Bourges festival, in France.
In 1982 Fariñas developed his first projects to create an electroacoustic music studio. Finally
approved in 1989, those projects became the beginning of the Estudio de Música Electrónica
y por Computación, EMEC, that he directed at the Instituto Superior de Arte (Superior
Institute of Art), ISA.
Among other pieces, Fariñas composed: Madrigal, a multimedia for two narrators, dancer,
projections, lights and tape in 1980; Aguas Territoriales for tape in 1983; Primer día de
Mayo for tape in 1984; Impronta for four percussionists, piano and tape in 1985; Cuarzo -
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Variaciones fractales in 1991, and Orbitas elípticas in 1993, both computer assisted
electroacoustic music works.
Carlos Fariñas realized Cuarzo - Variaciones fractales at EMEC/ISA working with the
Musical Fractals software developed by Rubén Hinojosa from the Software Group of EMEC
(EmecSoft). Orbitas Elípticas was also realized at EMEC, this time working with Orbis
Musicae, provisional name of an algorithmic compositional software also developed in Cuba.
Jesús Ortega (born in La Habana, 1935) composed, among other pieces: Prólogo for tape in
1970; Picassianas I tape in 1981; Picassianas II for guitar and tape in 1982; Invocación (Por
la Paz Mundial) and Picassianas III, both in 1985; Fanfarria de Primavera in 1986; Son
Mac-Plus for computer and tape, and David en el parque de diversiones (Suite para niños),
both in 1988; Sax-Son for alto sax and tape in 1991; Impromptu in 1992. Other pieces by
Ortega are: Concertante for Macintosh and tape; Traigo mi son, with Juan Blanco; Aves for
flute and tape; and Canto a la vida for four percussionists and tape, also composed with Juan
Blanco.
Calixto Alvarez (born in Santa Isabel de las Lajas, 1938) composed among other works:
Música en cinta for tape in 1971; Canon I for piano and tape in 1978; Canon II for piano and
tape in 1979; Música pop, also for piano and tape, in 1982; Fuenteovejuna for chamber
orchestra and tape in 1983; Venus & Adonis, opera for 2 sopranos, 2 tenors and
electroacoustic instruments, based on texts by William Shakespeare, in 1988; Ciclos en la vía
for tape in 1993; El Barbero de Sevilla for flute, clarinet and tape, and Julio César for tape,
both in 1996.
Jorge Berroa (born in 1938) composed Mezcla No. 1 for tape in 1982.
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Roberto Valera (born in Havana, 1938) composed Ajiaco in 1990; Palmas for tape in 1992;
Período Espacial in 1993; Loa del Camino in 1999; and Las sombras no abandonan in 2001.
Although most of the music composed by Leo Brower (born in Havana, 1939) is for acoustic
instruments, he has also worked with electroacoustic media in a few pieces like: Exaedros I
for 6 instruments or any multiple of six and tape, 1969; Asalto al cielo for tape, and Sonata
para piano e forte for piano and tape, both 1970; Per suonare a due for guitar and tape, 1972;
and Metáfora del amor, also for guitar and tape.
Guido López Gavilán (born in 1944) composed Victoria de la esperanza, multimedia piece
for symphonic orchestra, choir, soloists, actors, film, dance and electroacoustic sounds in
1985; and Rojo for string orchestra, percussion, soprano, baritone, choir, narrator and
electroacoustic sounds in 2001 (new version).
Sergio Barroso (born in Havana, 1946) works extensively with electroacoustic media in his
music. Some of his works are: Concierto para dos pianos, percusión y público for two
pianos, one of them on tape, three percussions and audience, 1969; Yantra III for guitar and
tape, 1972; Yantra IV for flute and tape, 1975; Noema II for tenor, violin, double bass, guitar,
piano and tape, 1975; Yantra VI for piano and tape, 1976-1979; Yantra IX for saxophones
(soprano and alto) and tape, 1979; Yantra X for bassoon and tape, 1982; En febrero Mueren
Las Flores for violin and tape, and Soledad for tape, both 1987; Canzona for DX7II(E!),
TX802 digital synthesizers and tape, 1988; La Fiesta for keyboard-controlled synthesizers
and tape, 1989; Tablao for guitar and tape or tape only, and La Fiesta Grande, a piece for
orchestra and solo keyboard-controlled synthesizers, both 1987; Crónicas de Ultrasueño, for
oboe and keyboard controlled synthesizers, and Sonatada, for keyboard controlled
synthesizers, both 1992; Charangas Delirantes, for keyboard controlled synthesizers and
tape, Viejas Voces, for viola and tape, and Jitanjáfora for violin solo, orchestra and keyboard
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controlled sampler, all three 1993; Concerto for viola and orchestra for solo viola, orchestra
and keyboard controlled sampler, 1995-1996.
Barroso performs using live electronics, and has gone on tours around Europe and the
Americas. He lives in Vancouver, Canada.
Sergio Vitier (born in 1948) composed Poema 1 for tape in 1972.
Juan Piñera (born in Havana, 1949) has written concert music as well as works for radio,
television and movies. Among other works, he composed: Pirandelliana for tape and two
actors in 1983; Tres de Dos for tape, with Edesio Alejandro, and Voix des deux, both in 1984;
Del espectro nocturno for guitar and tape in 1986; Germinal for tape in 1987; Del lucero
favorable for guitar and tape, between 1987 and 1988; Imago for guitar and tape in 1989;
Cuando el aura es áurea o La muy triste historia de los ocho minutos con treinta y ocho
segundos for soprano sax and tape in 1991; Pámpano y Cascabel for guitar and tape in 1995;
La bals (En un minuto, Vals olvidado, El manubrio azul) between 1996 and 1998; and Opus
28 No. 15, o de la gota de agua for tape.
Armando Rodríguez (born in Havana, 1951) studied guitar and musical composition at the
National School of Arts in Havana, where he received the Cuban National Artists and Writers
Musical Composition Award in 1978.
Among other pieces Rodriguez composed: Music For Different Timbres for tape in 1989;
Spatial Projection and Progression, both for tape, and Occupied Space (Espacio Ocupado)
for guitar and tape, all three pieces in 1990; The Hexagonal Galleries (Las Galerías
Hexagonales) for 3 performers and tape, and From Darkness to Light for double bass and
tape, both in 1992; A Quiet World for voice and tape in 1993; That Day (Ese Día) for voice
and tape in 1994; and A storm was coming over the quiet pond for open instrumentation in
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1995 (on that year Armando Rodriguez premiered a version for piano and tape of this piece at
the Miami-Dade Public Library, in United States, during the Subtropics Festival). Rodriguez
wrote about his work:
During the last years I have worked on the development of new forms of musical
expression that includes conceptual contents, textural and abstract forms, electro-
acoustic music and multi-media.
I live in the United States since 1985, where I have collaborated with visual artist
Kate Rawlinson and composer Gustavo Matamoros, with whom I co-founded the
experimental music ensemble PUNTO, dedicated to explore new ways of artistic
communication.
Rodriguez, A. (2003). Program Notes. [personal communication].
Julio Roloff (born in Havana, 1951) composed, among other works: Halley 86 for tape in
1984, and Quintaesencia for piano and tape. He lives in the United States.
Juan Marcos Blanco (born in Havana, 1953) composed, among other works: Zafra 70 for
tape, in 1970; Bucólica, with Héctor Angulo, for sax and tape; and Ritual for tape.
Orlando Jacinto García (born in Havana, 1954), composer, conductor and music educator,
is Professor of Composition, Director of Composition Programs, and Director of Graduate
Music Programs at the School of Music, Florida International University (FIU), in Miami. He
also founded the original FIU Electronic Music Studio.
Among other works, García composed: Reflejos de Modelos Repetivos for guitar and tape,
and Retratos #1 for piano and tape, in 1989; Improvisation with Metallic Materials for wind
synthesizer and tape, Sitio Sin Nombre for solo soprano and tape, Music for Nada for solo
soprano and tape or tape only, 3 Pieces for Double Bass/Tape for double bass and tape, and
Collage for guitar, violin, viola and tape, in 1990; Metallic Images for percussion and tape,
and transparente como el cristal for live electronics or tape, both in 1991; al borde del Avila
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for mezzo-soprano, flute, oboe, harp, piano, double bass and tape, in 1992; soy (I am) for
double bass, piano and tape in 1993; Imagenes (sonidos) sonoros congelados for violin and
tape, Collage 2 for four instruments and tape, and como un coro de clarinetes celestiales for
tape, all three pieces in 1999; como los colores del viento nocturno for viola and tape (with
wind chimes) and Why References? for piano and/or Disklavier and tape, both in 2002; nubes
nocturnas for solo trombone and tape, mixtures for solo cello and tape, and cuando el mar
besa el malecón for solo flute and tape, all three pieces in 2004.
García emigrated to the United States in 1961 and has resided in Miami since 1977.
Edesio Alejandro (born in Havana, 1958) composed among other works: Viet for tape in
1978; Tres de Dos for tape, with Juan Piñera, in 1984; and Tecnotrónicas, with Juan Blanco,
for Theremin, computer and live electronics in 2002.
Fernando Rodríguez (born in Matanzas, 1958) studied at Laboratorio Nacional de Música

Electroacustica in Havana. Among other pieces he composed: La tierra que nos vió nacer for
tape, in 1981; El otro huevo de la serpiente in 1983; and Dieciséis repeticiones sobre un tema
de J.S.Bach in 1993.
Marietta Veulens (born in 1959) composed Paz, meditación y metáfora for tape in 1981.
Miguel Bonachea (born in 1960) composed in 1984 El peldaño omitido for tape.
José Manuel García (born in 1960) composed Nidia for tape in 1984.
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Ileana Pérez Velazquez (born in Cienfuegos, 1964) is at present Assistant Professor of

Composition, Music Technology and Music Theory at the Music Department of Williams
College, Massachusets, United States. She is a graduate of music composition and piano from
the Instituto Superior de Artes in Havana. Perez earned her Master's degree in Electroacoustic
Music from Dartmouth College and a Doctoral degree in Music Composition from Indiana
University in Bloomington, both in the United States.
Some of her electroacoustic music compositions are: Natura for soprano and tape, 1990; La
Voz interior and Crisálida, both for tape, 1991; Realidades alternas, multimedia for tape,
video, dance and photograph, 1992; Yoruba for tape, Conversations for bass clarinet,
saxophones, bassoon and tape, and Celia for tape, all three 1994; Caxionics for saxophone,
electronics and CD-ROM, collaboration with Neil Leonard III, and Piedras for chorus and
tape, both 1995; Crystals for soprano and tape, and Un ser con unas alas enormes for violin
and tape, both 1996; Cuando la inocencia retorna en forma de poesia for piano and tape, and
Entre azul y transparencia for soprano and tape, both 1997.
Teresa Nuñez (born in 1966) composed among other works: Divertimento in 2000, Con
puntos y comas in 2001, and Miniatura in 2002, all works for computer realized at Estudio de
Música Electroacústica y por Computadora, EMEC - ISA.
Divertimento was composed using four FM synthesized timbres produced with Sample
Generator, a software developed at EMEC-ISA by Rubén Hinojosa.
Eduardo Morales (born in Havana, 1969) composed Asi se muere for tape, and La noche
oscura for tenor, percussion and tape, both in 1994. He lives in Madrid, Spain, since 1996.
Alain Perón (born in Havana, 1969) composed De dos para uno for guitar and tape in 1997.
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Yaniel Matos (born in 1975) composed Celletronic live, for live electronics, in 1998; and
Estudio de un sueño.
Mónica O’Reilly (born in Havana, 1975) studied electroacoustic music at the Laboratorio
Nacional de Música Electroacústica in Havana during the early 90s.
Since 1995 she is professor at the Instituto Superior de Arte, ISA in Havana, and is also part
of the Estudio de Música Electroacustica y por Computadora team there.
O’Reilly composed among other pieces, the following electroacoustic works for tape:
Moniobra in 1998, realized at EMEC-ISA; El segundo de un compay eterno, also realized at
EMEC-ISA, Mundo Interior, with Irina Escalante, and Psss, both realized at the Laboratorio
Nacional de Música Electroacústica, all three works in 2000; Bbpino, realized at LNME, and
Un besito a papito, realized at EMEC-ISA, in 2001; El indio está que pela, Tres little escenas
de Mr. Pérez, Martí: muerte y razón and Gestual, all four works relized at EMEC-ISA, and
Gallos, realized at LNME, all five pieces in 2002.
Irina Escalante (born in Camagüey, 1977) composed several electroacoustic music works:
La Primavera del Angel, realized at Estudio de Música Electroacustica y por Computadora,
EMEC – ISA in 1999, using electronic sounds coming from a Yamaha DX7 digital
synthesizer, later processed on a PC using SoundForge software; Mundo Interior, with
Mónica O’Reilly, realized at Laboratorio Nacional de Música Electroacustica, LNME
(National Lab of Electroacoustic Music) in 2000, using electronic and acoustic instruments
sounds; Sirarisuira, also realized at LNME using electronic sound sources in 2000; Congas,
Liturgias and Momentum, all three pieces realized at EMEC - ISA in 2001.
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Many other composers have been using electroacoustic media in their music. Ailem
Carvajal composed Gotas at EMEC-ISA in 1996. Mirtha de la Torre composed El primer
abrazo for tape in 1984. Rubén Hinojosa composed El fin del caos llega quietamente in
1998; Piano Fractal, Satélites, Oro - iña, Camello, Scratch and FX 1050, among other
works. He also developed the Sample Generator software used by several composers in their
music creations, as for example: Carlos Fariñas and Teresa Nuñez. Bárbara Llanes
composed Exodo for soprano and tape in 1998. Pedro Pablo Pedroso composed Espacio
Cerrado for violin on tape and electronics in 1990; Nexos II: Escenas de la Vida for
amplified flute and electronics in 1993; and Paisaje 1994: Música para las Demoliciones for
tape in 1994. Carlos Puig composed Stealing in 1993. Yosvany Quintero composed Moto
Perpetuo. Julio García Ruda composed La noche de los tiempos, first piece realized at
EMEC-ISA, and Variaciones Fractales in 1989. Tania León (born in Havana) composer,
conductor, educator and music advisor living in New York since 1967, composed Axon for
violin and interactive computer in 2002. There are also works involving electroacoustic
media by José Loyola, Jorge Maletá, Raylor Oliva, and José A. Pérez Puentes, to name
but a few.
6.9 Dominican Republic
Ana Margarita Luna (born in Santiago de los Caballeros, 1921) composed Beyond the stars
… for voice, piano, violin, cello and tape in 1994 at McGill University, in Montreal, Canada.
Alejandro José (born in San Francisco de Macorís, 1955) has been crossing the sea to live
on his native Dominican Republic or Puerto Rico on and off, teaching and composing
electroacoustic music in both places until recently. He moved to United States in 2004 to
work at The Center for the Improvement of Human Functioning International in Wichita,
Kansas. He works there as a resident composer and scientific researcher, focusing on
psychoacoustics and music therapy, among other music and sound-related areas.
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José began to compose electroacoustic music around 1976 in his native land; later he studied
for some years in Puerto Rico and returned to the Dominican Republic from 1982 to 1984.
During that time he taught the first electronic music courses in the Dominican Republic.
Those classes were at the National Conservatory of Music. José was using then his own
equipment, including an ARP 2600 electronic sound synthesizer, a couple of four track tape
recorders, an eight channel mixer, an equalizer and a reverb unit, among other resources.
After that experience he went back to Puerto Rico, where he was mostly based until 2004.
There he directed the Psicosonía Institute, an organization devoted to research the sound and
music influence and effect on the human being.
Alejandro José composed several pieces for tape, among them: Tangentes in 1988, Pulsar: El
Caribe in 1991, Ecofonía I in 1992, and Con el Pulso de una Estrella in 2002-2003. In 1995
he composed Todo es Uno, for tape and slides. All the sounds on this piece come from two
sources: the energy signal from a pulsar (pulsing star) 175 light-years from Earth, recorded
by the Arecibo Radio Telescope in Puerto Rico, and the transference to sound of several
aminoacid structures from the human body. In 1999 he composed Toccatta de Mente, for
mind-controlled electronic devices.
Being also a professional oboe perfomer, José became a wind controller virtuoso too. For that
electronic musical instrument he composed in 1989 Cuatro Estudios para Wind Controller.
Dante Cucurullo (born in San Juan de la Maguana, 1957) composed several works using
electroacoustic media. Among other pieces, he created a cycle of seven electroacoustic
interrogantes; a cycle of Afirmaciones where electronic, concrète and instrumenal sources
are mixed; the two-parts electroacoustic piece Millennium Hope; and El Encantador de
Aguas for tenor sax and synthesizer (on tape or CD) in 2000.
His piece interrogante #5 was premiered in 1985 during the II Festival Internacional de
Música Electroacústica (II International Festival of Electroacoustic Music) held in Varadero,
Cuba; and interrogante #7, based on sounds of human snores, was premiered in 1986 during
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one edition of the Cursos Latinoamericanos de Música Contemporánea (Latin American

Workshops of Contemporary Music), held that year in Uruguay. Millennium Hope was
performed at the electrocoustic music festival Synthèse, in Bourges, France, in 1999.
6.10 Ecuador
Many of the Ecuadorian composers that have been working with electroacoustic media in
their music have also been pursuing most of their professional careers outside their native
country.
Mesías Maiguashca (born in Quito, 1938) has been working extensively with electroacoustic
media in his music for many years.
He studied music in Quito, New York (Eastman School, 1958-1963), Buenos Aires (CLAEM
- Instituto Torcuato di Tella, 1963-1965) and Cologne (Musikhochschule Köln, 1966-1968).
Maiguashca composed Segundo cuarteto de cuerdas, a piece for string quartet involving live
electronics, in 1967. The same year he created his first work on tape, Dort wo wir leben,
producing it at the studio of the Musikhochschule Köln using concrète and electronic sounds.
In 1969 he composed Hör Zu, also a tape piece using concrète and electronic music. Scored
for 6 vocalists and electronics, A Mouth-piece is dated 1970. His well-known piece
Ayayayayay for concrète and electronic sounds is dated 1971.
Maiguashca composed many mixed pieces, most of them using live electronics. Some of
those works are: Übungen for violin, clarinet, cello and 3 synthesizers, Übungen for violin
and synthesizer, and Übungen for cello and synthesizer, all three 1972-1973; Öldorf 8 for
violin, clarinet, cello, organ, synthesizer and tuba, 1972-1974; Solitarum for 6 vocalists and
electronics, 1975; Lindgren for bass melody instruments and tape, 1976; … y ahora vamos
por aquí… for 8 instruments and tape, 1977; Agualarga for 2 keyboards and electronics,
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1978; Intensidad y Altura for 6 percussionists and tape, 1979; FMelodies I for computer
sounds and instrumental ensemble, 1980; Ecos for 36 musicians, 32 sound objects and
electronic sounds, 1981-1982; FMelodies II for cello, percussion and tape, 1983-1984;
Video-Memorias for speaker, computer-synthesizer and cello, Vorwort zu Solaris for cello,
trumpet, percussion, sax and tape, Vorwort zu Solaris for Baroque Ensemble and tape,
moments musicaux/The Wings of Perception I for string quartet and tape, and Nemos Orgel
for organ and tape, all five 1989.
Maiguashca has also been using other electronic media in his work. In 1985 he created
Barcarola Bitística for 2 micro-computers and video monitor; between 1987-1988 the
computer installation A Mandelbox; and in 2002: La celda, musical theatre for an actor, video
projection and 8 loudspeakers.
His cycle of pieces Reading Castañeda, 1993, includes: The Wings of Perception II for tape,
1989-1992; Die Zauberflöte/Sacateca’s Dance for flute, tape, radio baton and computer,
1985-1992; El Oro for speaker, flute, cello and tape, 1992; The Spirit Catcher for cello, tape,
radio baton and computer, 1992-1993; and The Nagual for metal objects, radio baton,
computer and tape, 1993.
Other pieces by Maiguashca are: Como… for tape, 1988; Die Feinde, eine Minioper for 2
tenors, string quartet, 2 bass clarinets and electronics, 1995-1997; Tiefen for 8 loudspeakers,
1998; El Tiempo for 2 flutes, 2 clarinets, 2 cellos, 2 percussionists and electronics, 1999-
2000; La noche cíclica for violin, cello, marimba, keyboard and 4 amplitude modulators,
2001; and La noche cíclica for 4 PowerBooks, 2002.
Maiguashca has been living in Germany since the mid 60s.
Milton Estevez (born in Checa, Pichincha, 1947) composed several pieces using
electroacoustic media, being of special mention his works for orchestra and tape.
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He composed Patch 13 for tape, keyboard and percussion in 1984; Cinco Desencuentros con
Episodio Cualquiera for orchestra, voiced flutes, percussion and electroacoustics in 1986;
Apuntes con refrán for orchestra and electroacoustics in 1987, commissioned by IBM
Ecuador; “Evbreves” for orchestra and electroacoustics in 1988; and Cantos Vivos y Cantos
Rodados, version 1 for chamber ensemble and tape in 1996-1997.
Estevez revised in 1994 the original version of Patch 13, premiered in 1984 by Diana
Arismendi on keyboard and Jorge Dayoub on percussion. He wrote on the program notes for
this piece:
Originally conceived for tape solo, the electro-acoustic texture uses almost one
exclusive material: a combination (patch) of sound generators and controls, designed
on the panel of the old AKS analog synthesizer, at the Centre européen pour la
recherche musicale - CERM in Metz, during the research of a personal sound-
catalog.
The catalog number (13) for the combination was adopted to label the work. Shaped
in different ways, the material became a sort of delirious percussion, which alternates
with calm appearances through a four “movement” global organization.
At Mesías Maiguashca’s suggestion (then he was professor at the CERM), an

instrumental texture was superposed to the synthetic one. Both textures dialogue
sometimes by analogy (wood-block appearances, for instance) or contrast (some
independent keyboard events ...). A fourth alternative “movement” (ossia) for the
instrumental texture (to be played instead of the original IV “movement”, if wanted)
was composed in Louisville, 1994.
Estevez, M. (2004). Program Notes. [personal communication].
Using the same tape part that Patch 13, Estevez composed Cinco Desencuentros con
Episodio Cualquiera for full orchestra and electroacoustics in 1986. The piece was premiered
in November of that year in Quito by the National Symphonic Orchestra of Ecuador, with
Alvaro Manzano as conductor.
Estevez proposed the creation of the Departamento de Investigación, Creación y Difusión or

DIC (Department for Research, Creation and Promotion) at the National Conservatory of
Music of Quito. His project was accepted and the DIC was founded in 1985. The original
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project included an electroacoustic music studio, but this was not ready until 1986. The
electroacoustic studio was possible thanks to a donation by IBM Ecuador.
During April of 1987 the Ecuadorian Festival of Contemporary Music had his first edition,
also as part of the DIC project in Quito.
Estevez premiered on this Festival another work for orchestra and electroacoustics, Apuntes
con Refrán. The piece was also performed by the National Symphonic Orchestra of Ecuador,
with Alvaro Manzano conducting. The electroacoustic texture for this piece was worked by
Estevez at his home studio using an FM synthesizer Yamaha DX7 together with a QX7 for
sequencing and a Revox B77 tape recorder.
Evbreves was the third work for orchestra and electroacoustics Estevez wrote and premiered
in three years. The tape part for this piece was made at DIC’ studio during 1987-1988. He
used an FM module Yamaha TX802, a Peavey mixer, one multi-track Tascam tape recorder
and a Revox B77. This work was premiered in Quito during May 1988, once again by the
National Symphonic Orchestra of Ecuador, with Alvaro Manzano conducting.
During the 90s Estevez composed Cantos Vivos y Cantos Rodados, for ensemble and
electroacoustics, between 1996 and 1997. The tape part was realized at the Computer Music
Laboratory of the School of Music, in University of Louisville. He used a PC computer with
an E-mu Proteus and a DAT. Estevez says about his composition:
Perhaps one feature of Ecuadorean music is the “anomalous” friction (to the
illustrated ear, that is) between sound worlds of different origins. In this work, this
process reaches some importance, as counterpoint between systems: native,
European, and MIDI ”parvenu” materials, instrumental gestures, and atmospheres,
cast on two textures, acoustical and electro-acoustical.
The “anomaly” also reaches the rhythmic shape through non-symmetrical

construction.
Electroacoustics is used in both, a “good” and a “bastard” sense: although most it

shows consistent electro-acoustical sounds, when instrument writing is impossible
for human musicians, the electro-acoustical texture takes over with samples in order
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to keep the music gestures (vertiginous relay of “flutes” at the end, for instance) over
the safeguard of “pure” means.
Estevez lives at present in Louisville, United States.
Arturo Rodas (born in Quito, 1954) studied music and law in his native country before
going to Europe to complete his studies in composition and electroacoustic music during the
early 80s. In France he studied electronic music at Centre Européen de Recherche Musicale
in Metz, as well as concrète music composition at the Conservatoire National de Paris.
Back in Quito, Arturo Rodas was editor of the monthly musical magazine Opus from 1986 to
1989. He wrote several articles and essays for this magazine published by the Musicoteca del
Banco Central of Ecuador and also a book about contemporary music, Nuestros Dias,
published by the Ecuadorian Centro de Investigacion y Cultura. Since 1990 Rodas has been
living in Europe again, working as a free-lance composer and teacher based in London.
Rodas composed Voudriez-vous fermer les yeux un instant s'il vous plaît? for tape, 1983;
Obsesiva for orchestra and computer-generated sounds, commissioned by IBM Ecuador,
1988; and El llanto del disco duro, Bailecito and Fermez les yeux s.v.p. (according to Rodas
this new piece replaces the aforementioned work dated 1983), all three tape pieces, 2001.
About Bestiario or Bestiary, a work in progress by Rodas, he explains:
It consists in a set of electroacoustic pieces which can be seen as commentaries on

the acoustic soli from another set. The later, called Fauna, being a collection of solo
pieces for most of the instruments of the orchestra. Both sets form a cycle called The
book of the orchestra. The electroacoustic pieces articulate the acoustic pieces. In
other words, Bestiary articulates Fauna and the two sets become The book of the
Orchestra.
The form is akin to Mussorgsky's Pictures at an exhibition in which the pictures are
articulated by the promenades. The difference is that, in my work, the "pictures" are
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played by various instruments and the "promenades" are electronic thoughts on the
"pictures". As it is the case with Mussorgsky's work, most of the pieces (pictures) can
also be played separately.
The soli in Fauna are: one piece for piccolo; one piece for flute in C; one piece for
flute in G; three pieces for B flat clarinet; two pieces for oboe; one piece for english
horn; one piece for B flat bass clarinet; one piece for bassoon; one piece for
contrabassoon; one piece for trumpet piccolo in D; one piece for B flat trumpet; one
piece for tenor trombone; one piece for tuba; one piece for violin; and one piece for
viola; among others.
Some of the finished pieces or "comments" of Bestiario are:

1. comments on tuning, trumpets, "unreal" percussion;
2. comments on flutes, tunning;
3. comments about the viola, and the trumpet soli;
4. comments about the contra bassoon and the oboe soli;
5. comments about trumpet trio, viola, timpani, other "concrète" formants;
6. mainly comments about the soli for english horn and violoncello;
7. comments about bassoon, english horn (again), harp, trumpets, etc;
8. and comments about cello, timpani, trumpet.
Rodas, A. (2003). Program Notes. [personal communication].
Diego Luzuriaga (born in Loja, 1955) composed works such as Los ojos de mis sueños for
tape, commissioned by the Gent Electronic Music Studio, 1984; Apabatapabata for tape and
Ludus Spectralis for flute, marimba and tape, both produced at the CERM studio in Metz,
1986; Brasilia for flute, percussion and synthesizer, 1986; Pytagoras for tape, produced at
the Manhattan School of Music, 1987; Flauta y Viento for flute and tape, tape part produced
at Columbia University Electronic Music Studio, 1992; and Viento en el viento, for 2 flutists,
percussion, electronic keyboard and computer, commissioned by Ensemble
Intercontemporain and IRCAM and created at IRCAM, 1994.
About Viento en el viento Luzuriaga wrote:
Viento en el viento is a seventeen-minute-long piece for two flutists (one playing

piccolo, flute, and alto flute; the other playing flute, alto flute, and bass flute), one
percussionist (playing tam-tam, three tom-toms, three suspended cymbals, bass drum,
snare drum, chimes & glass chimes, bamboo chimes, triangle, and crotales), and one
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keyboard player playing two keyboards which trigger several types of electronic
sound files and real time electronic processes.
The following is an excerpt from the program notes I wrote for the premiere of
Viento en el viento in Paris:
Soy viento en el viento (I am wind in the wind) is a verse from a poem I wrote in July
1993 when I spent five weeks at the Bellagio Center (a magnificent Rockefeller-
Foundation-owned villa on lake Como, Italy) as an artist-in-residence. The poem
tried to convey a feeling I had after a stormy afternoon while walking in the
exuberant gardens of the villa. The poem talks about the feeling of being completely
"transparent", being at the same time both a part of the universe and the whole of it.
I perceive the piece Viento en el viento as a large empty space being sculpted by
wind. The zampoña, long panpipes from the Andes, served as a source of acoustic,
spatial, and poetic images. Being a “breathy” instrument, the zampoña conveyed for
me the fascination I always felt for air and wind with all its sounds and spaces.
The image "I am wind in the wind" represents for me a state of physical and spiritual
transparency. Being air in the air, being nothing and at the same time being the whole
universe--a concept quite familiar to Eastern mystics--is an experience I have had
several times in my life, out of a natural and unconscious predisposition. These
fleeting moments of transparency, being powerful and transcendent, have become
references for my creative work and for my life.
Being a subjective concept based on personal experience, this transcendental

transparency is difficult to define, but I would say that it is a state of high awareness
of my Self as a physical, spiritual, and emotional being in total connection with my
own past and present, and with the past and present of the rest of humanity, and in
total connection with the physical surroundings (in the case of the Bellagio
experience, a humid, exuberant garden, full of summer sounds, smells, and shining
colors).
Luzuriaga, D. (2005). Program Notes. [personal communication].
Luzuriaga lives in Philadelphia, United States.
Jorge Campos (born in Quito. 1960) moved from Ecuador to Russia in 1987 to study
composition and musicology. In 1993 he started to work at the Theremin Center in Moscow.
He moved from Russia a few years ago.
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In December of 1984, Campos composed in Quito his first electroacoustic piece for tape:
Achachachay. This work was premiered on January 25, 1985, during a concert organized by
the National Conservatory of Music of Quito held at Nuevo Salón de la Ciudad, in Quito’s
Municipality. According to Campos, Achachachay is a concrète music work based on
“sounds of crickets, dogs, birds, water drops, street ambients, sporadic shouts” and “is a bit
close to what is called a soundscape nowadays. It was realized at some Quito radio studios
using very rudimentary equipment” (Campos, J. 2002. Personal communication).
The composer started working with electroacoustic media again when he moved to Moscow.
There he composed In Memoriam and Méditations in 1993, El jardin de las delicias in 1994,
Eine Kleine Nachtmusik in 1994, Bora - Bora in 1994, Serpenwaves in 1995, Kon Tiki in
1996, and Orphée in 1998, all of them tape pieces produced at the Theremin Center.
Campos produced some of his recent works for tape in American and French studios: Tri
udara, 1999, at Conservatoire de Musique de Blanc Mesnil in France; Cats music and VCCA-
tape music, both produced in 2000 at the Virginia Center for the Creative Arts in Virginia,
United States; Nuit d’été composed at Centre d’Etudes et de Recherche Pierre Schaeffer in
Paris, 2002; and Serpencicleta composed at Université de Marne la Vallée in France, also in
2002.
Campos composed mixed pieces for acoustic instruments and tape as well as works involving
live electronics, using one or more Theremins and digital interactive musical controllers like
the Power Glove. Some of these pieces are: Sonate for alto, piano, percussion and tape, 1993;
Yaravi for flute, percussion, tape and dancer, 1993; Séquences for Theremin, trumpet and
tape, also 1993; De Profundis for string quartet, percussion, two trumpets and tape, 1994,
commissioned for the Alternative Festival of Moscow; Berceuse (o Lullaby) for piano,
percussion, tape and three dancers, 1995; Glissandi for six Theremins and two dancers, 1996;
Esquitofrenia for reciter, bass clarinet, percussion, tape and video projection, with texts by
Ramiro Oviedo and video by Omar Godinez, 1996, commissioned by Ecuador’s Embassy in
Moscow; El Cuarto Menguante (or New Moon) for soprano, bass clarinet, Power Glove and
five dancers, with poems by Rima Dalos, 1997; and Travesía for reciter, flute, sax, piano,
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tape and two dancers, with texts by Alejandro Velasco, 1997, commissioned by the
Maïakovski Museum of Moscow.
Between 1994 and 1998 Campos was composing also for films, television and video. Les
ombres de Koleichuk, in collaboration with the Contemporary Art Center of Moscow, and
concert versions of Orphée and Kon Tiki, with video and spatialized sound, all of them 1998,
are some of his works on this field.
Eduardo Flores Abad (born in Guayaquil, 1960), a graduate from the Folkwang-Hochschule
in Germany who lived in Turkey for several years, composed Los amantes for stereo tape in
1993; Cuatro piedras, Las consecuencias and Ojo mirando la fiesta por un hueco, originally
integrated under the title La tentación de Antonio as a three parts dance and tape work, also in
1993 (Las consecuencias was revised in 1994 changing spatialization and reverb factors);
Ritmo en el ritmo for quad tape in 1994; Taleas for quad tape in 1995-1996; A ras del cuero
#1 for stereo tape in 2000-2001; A ras del cuero #3 for cello and stereo electroacoustics in
2001; and Líneas Flotantes for alto sax and quad electroacoustics in 2002.
Flores wrote some software like Edita 1.0, FModula and LogFunk, originally to be used in
his own music classes.
During several years Flores was visiting professor at the Conservatory of the State University
Dokus Eylül at Smyrna city, in Turkey. At present he is living in Germany.
Pablo Freire (born in Quito, 1961) has been working with electroacoustic media on some of
his compositions. Zeluob 3 for tape, 1990, and Sonata del silencio for sax, 3 guitars,
percussion and tape, are two examples of that.
To compose Zeluob 3 Freire worked with the integral serialism techniques developed by
Pierre Boulez, hence the anagram in the name of the piece (Zeluob is Boulez backwards).
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The number 3 plays a fundamental role on this composition, both in the macro and
microstructure. Sonorities from Andean panpipes are present on this Freire’s work, also
percusive sounds processed to evoke the Amazonic Tunduy, a drum made from a hollow
trunk. Zeluob 3 was composed using a Yamaha TX802 FM digital syntesizer, an Akai S900
sampler and a Yamaha QX1 sequencer.
Julián Pontón (born in Tucán, 1961) has been composing with electroacoustic media during
the recent years. Presently, he is in charge of the Departamento de Investigación, Creación y
Difusión, also known as DIC (Department for Research, Creation and Promotion) of the
National Conservatory of Music of Quito.
Sismos en Son de Homenaje for mixed choir, orchestra and tape was composed by Pontón at
DIC, working with electronic part of the piece with the MetaSynth software. The piece was
premiered in Quito by the Orquesta Nacional de Quito (National Symphonic Orchestra) and
the Coro Ciudad de Quito (Quito City Choir) from Quito’s Municipality in 2000.
Pontón also composed Aire … Como … Pan for tape, based on the poem by Pablo Neruda
Oda al Aire. The piece uses voices in German, French, Quichua, Korean and Spanish. It was
realized between 2000 and 2002 working at DIC in Quito and at Laboratorio de Informática y
Electrónica Musical (Computer and Electronic Music Lab) also known as LIEM, in Madrid,
Spain.
During a residency in Germany, Pontón composed Oda al instante en que dejamos de ser
víctimas for flute, tape and live electronics, between 2002 and 2003.
Marcelo Ruano (born in Quito, 1962) composed Millay for tape, a piece that has been
presented also as a mixed work performed together with a live violin solo improvising all
along the tape; the name means “water” in the old Quichua language. He also composed La
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Epopeya Alfárida, ballet music for tape and MIDI instruments, and Obertura Plaza Grande
for tape, MIDI instruments and symphonic band.
Juan Campoverde Quezada (born in Cuenca, 1964) composed mostly chamber works but
has been using computer-assisted composition techniques on some of his pieces. He is living
in the United States, and teaches at DePaul University.
Campoverde applies generative logarithmic processes where rhythmic and harmonic

structures becomes part of a “digital draft” that later allows him to elaborate, speculate and
choose “manually” the specific materials for the piece (Campoverde, J. 2002. Personal
communication). He uses this approach in Iluminaciones for string quartet, working mainly
with OpenMusic and Max/MSP, and also in Topografías IIb for guitar and computer. On this
second work some formal decisions are taken in real time from sounds being produced live
by the guitar and the digital counterpart in a flexible but controlled exchange. The computer
sounds are produced processing prerecorded guitar samples as well as filtering, pitch-shifting
and delaying live guitar sounds.
6.11 El Salvador
Gilberto Orellana (born in Santa Ana, 1938) composed Variaciones sobre un tema de
Fantasía en el Bosque, an electroacoustic piece based on the orchestral work by his father
(also named Gilberto Orellana): Fantasía en el Bosque.
Juan Carlos Mendizabal (born in San Salvador, 1968) was commissioned by the University
of Santa Clara in 1994 to write a multimedia piece (involving dance and theatre) about the
massacre happened in a little town called El Mozote, high in the mountains of El Salvador,
during December, 1981.
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La masacre del Mozote was premiered live in 1995. The composer wrote about his work:
The result was a 45 minute long electroacoustic piece that aims at going beyond the
statistics and the rhetoric towards a fuller understanding (mental, emotional and
physical) of what happened at El Mozote. In the piece, samples and electronic sounds
combine with acoustic guitars and newscasts from the war, all collaborating to take
the listener in a journey from the safety of the present to a forgotten moment in recent
history when the deepest and darkest forces of the human heart were unleashed.
Mendizabal, J. C. (undated). The Massacre of El Mozote. [online] Address:
http://www.deconstructionist.com/blacknote/elmozote.htm
This was my first fully realized exploration of a synthesis of a “classical approach”

with the sounds and tools of modern electronic ambient/techno/industrial music.
Mendizabal, J. C. (2002). JC/Kyron - Bio & Gear Explanation. [personal

communication].
Other musical works by Mendizabal involving electroacoustic media are: 5 Vidas y un

Preludio for tape, 1995, composed and premiered in El Salvador; Chimps in Space, 1994;
Jungle Monkeys, 1995; Cortex Burn, 1996; Trip Tech - Children of the Secret, 1999; Kyron -
Kaos Drone and Kyron - Music Boxes, both 2002.
Juan Carlos Mendizabal moved to San Francisco, United States, during the early 80s.
Fracisco Huguet (born in San Salvador, 1976) composed Estudio 3 for cello and tape and
Tiento 2 for tape, both in 2003. He is living in Switzerland.
6.12 Guatemala
Joaquín Orellana (born in Guatemala City, 1937) studied violin and composition at the
National Conservatory of Music in Guatemala between 1949 and 1959. He also studied at
Centro Latinoamericano de Altos Estudios Musicales (CLAEM) - Instituto Torcuato Di Tella
in Buenos Aires, Argentina, between 1967 and 1969.
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Orellana has been working with electroacoustic media in his music since the early 60s. His
conception and development of new instruments derived from the marimba plays a major role
on his musical trajectory. As remarked by several researchers, during the last decades his
music reflects a compromise with the social situation of Guatemala’s poorest class, focusing
on the traditional folk culture, local expression and sound environment.
Orellana composed, among other works: Contrastes (ballet) for orchestra and tape in 1963,
producing the tape part at a commercial recording studio in Guatemala; Metéora for tape in
1968, realized at CLAEM, in Buenos Aires; Humanofonía for orchestra and tape in 1971,
tape part also realized at a commercial recording studio in Guatemala, and Humanofonía for
tape only, being this the same recording used for the original orchestra and tape homonymous
work; Malebolge (also known as Humanofonía II) and Entropé in 1972, both for tape;
Primitiva I, Asediado-Asediante and Itero-tzul in 1973, all of them for tape; Sortilegio for
tape in 1978; Rupestre en el futuro for tape in 1979; Imágenes de una historia en redondo
(imposible a la equis) for tape in 1980; Híbrido a presión for 2 flutes, special instrument and
tape in 1982; Evocación profunda y traslaciones de una marimba for full Guatemalan
marimba, choir, 5 recorders, reciter and tape in 1984; and Híbrido a presión II for 2 flutes,
special instrument and tape in 1986.
David de Gandarias (born in Guatemala City, 1952) is composer and musical engineer. He
graduated at the National Conservatory of Guatemala in piano and at the Gioacchino Rossini
Conservatory of Pesaro, Italy, in electronic music. He also studied at the Centro di Sonologia
Computazionale (CSC) of the University of Padova, at the electronic music lab of the Santa
Cecilia Conservatory in Rome, and at DDR - GEM (Galanti Electro Musical; now called
Generalmusic Corp.) in Mondaino, Emilia Romagna, Italy.
He has been working as composer, musical engineer, percussionist, pianist and producer for
radio, television and musical recordings.
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De Gandarías’ work is highly related to the social situation in his country and to the search of
a personal language based on the roots of his native land, taking as a starting point the
research of folk traditions.
Among other works, he composed: Juego de Magos y Gorilas for tape in 1977; Juguemos a
jugar jugando, for a children’s play, tape, in 1979; and Objetos Rituales, ballet music on tape
in 1981, all three works realized at Estudios Sincro in Guatemala; Pisaurus Piece,
multimedia for soprano, sax, tape, scenography and lights, in 1987, realized at LEM -
Electronic Lab for Experimental Music at G. Rossini Conservatory in Pesaro, Italy; Trans-
tres for tape, flute, clarinet and double bass in 1985, electronic part also realized at LEM;
Sinergia for computer in 1996, composed as the sound part of Walter Branchi’s multimedia
for 2 mimes, 6 lights and sound column, and realized at the composer’s personal studio in
Guatemala; Percursos de Hormigo, Senderos de Silicio, a piece for Guatemala’s full
marimba and computer in 1997, where the electronic part was also realized at the composer’s
personal studio; and LABUGA, a multimedia show realized between 1999 and 2002,
including live acoustic instruments, electronic processing, computer music, theatre, dance,
digital video and lights.
About LABUGA, David de Gandarias says:
[…] Is the first artistic work of interethnic and intercultural participation between
garifunas and mestizos of Guatemala; staging this piece were working for over three
years a group of artists and intellectuals garifunas from Livingston, Izabal, together
with a group of researchers and artists mestizos from Guatemala City. LABUGA is
then the place where fuses - without hierarchies - the aesthetic cultural heritage of the
garifuna, rural and traditional, with the technical and poetic thinking principles
typical from the mestizo, urban and present.
De Gandarias, D. (2003). Program Notes. [personal communication].
Igor de Gandarias (born in Guatemala City, 1953) shows in his works a strong interest on
the cultural roots of Guatemala. He studied at the National Conservatory of Guatemala, at the
Art Department of the Faculty of Humanities in San Carlos de Guatemala’s University, and
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later in the United States at the Catholic University of America, the University of Maryland
and the Peabody Conservatory, specializing in composition and electroacoustic music.
Igor de Gandarias has been working with electroacoustic media in his music since the early
70s. Among other pieces he composed: Cadenas cromáticas for slides and tape in 1982;
Conquista 2 for chirimía, drum and digital equipment in 1988; and Circunstancial II for
double mixed chorus, tzijolaj, tun, rock trio and tape in 1990. In 1995 de Gandarías
composed La Feria Fantástica, electroacoustic music on CD realized in Maryland, United
States; he created a second version of that piece in 1998, integrating and synchronizing in a
video the same original music. On La Feria Fantástica the composer includes field
recordings from the Jocotenango’s fair, the most important religious feast of Guatemala’s
City. He realized this piece working with a Fairlight III Series audio workstation.
According to Igor de Gandarías, he also applied typical concepts and procedures used in
electroacoustic music composition in some of his instrumental pieces. Two examples are:
Guarimba for orchestra, 1994, and Dialogante for Hammond organ and piano, 1995.
The book Tradición Popular en la música Contemporánea Guatemalteca by Igor de

Gandarías was published in Guatemala in 1998. He analyzes in that text two of Joaquín
Orellana’s compositions created using electroacoustic resources.
Dieter Lehnhoff (born in Guatemala City, 1955) is musicologist, conductor, and composer.
He studied in Salzburg and then at the Catholic University of America in Washington D.C.,
where he earned his M.A. and Ph.D. He presently directs the Institute of Musicology at
Rafael Landívar University in Guatemala, and is also Music Director of the Metropolitan
Orchestra and National Choir of Guatemala. Besides his three electro-acoustic works listed
below, he has composed choral, symphonic, and chamber music.
His first work created with electroacoustic means was Sanctus, produced at the Electronic
Music Studio of the Salzburg Mozarteum and premiered in April 1975 at the auditorium of
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the Austrian Broadcasting (Österreichischer Rundfunk, ÖRF). The composer wrote about
Sanctus:
In this piece, an introductory monastic chant is driven away by the irruption of vocal
sonorities which -as they build up to a climax- stress the recurrent human
indifference and irreverence, before the ancient text of the Sanctus is recited in
hieratic reiterations over a disquietening soundscape of whistling projectiles, distant
explosions, and the cracking of firearms.
Lehnhoff, D. (2003). Program Notes. [personal communication].
In August 1999, on a commission from the Guatemalan Asociación de Amigos del País,
Lehnhoff created two works on CD at Audio Track Studios in Guatemala City. The first one,
Memorias de un día remoto, “recalls the sounds of a distant day in ancient Mayan life, with
the gathering of warriors, their fighting in the jungle, and the capture, humiliation, and ritual
execution of prisoners for the bloodthirsty gods” (Lehnhoff, 2003. Personal communication).
The second, Rituales nocturnos, “evokes the mysterious atmosphere of a Mayan high priest's
rainmaking rituals. His chants and incantations, joined by the ever-quickening, frantic clatter
of turtle shells, rattles, and slit drums, finally lead to the breaking of the clouds, as four
children tell their tale, all at once, in four different Mayan languages in welcome of the
blessing” (Lehnhoff, 2003. Personal communication).
The concrète sources for both works includes original Mayan whistle playing as well as
chants and tales recollected in the jungles of southern Mexico and in the Guatemalan
highlands. Under the title Escenas primigenias, both works were published on the CD
Orígenes issued by Asociación de Amigos del País (Guatemala City: HGG 10699 CD, 1999).
They have also been performed at the National Theatre of Guatemala, and at international
festivals such as Foro de Compositores del Caribe.
Paulo Alvarado (born in Guatemala City, 1960) is a composer, musical producer and cello
performer. He is active in different musical fields, from rock to contemporary music, and has
been working with electrocoustic media in his compositions.
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Apart from working with electroacoustic media, installations, and experimental music,
Alvarado wrote 50 songs, chamber and symphonic pieces and music for theatre and dance.
Some of his compositions are: Teléfono and Teatro, both 1988 electroacoustic music pieces,
realized at his personal studio in Guatemala; El Manifiesto Consumista for voices, effects and
three actors, 1989; Cuarteto #3 for string quartet (with auxiliary tape), 1990; Una ciudad
deshauciada, electroacoustic music, 1995; Concierto for marimba and orchestra (and
auxiliary tape), 1996; Octágono for marimba, 6 instruments and tape, 1997; 5.50 BG for
street sounds and synthesizer, 1998; Mientras exista for 4 voices, guitar, percussion
sequencer and auxiliary recording, 1999; Mi Familia for voices and synthesizer, 2000; and
Voces en el Umbral for voices, percussion and synthesizer, 2002.
Renato Maselli (born in Guatemala City, 1964) composed among other pieces: Expectations
for tape in 1996, and Landscape for dance, tape and electronics in 1997, both works produced
at the Sonology Institute in The Netherlands; Puntos and Líneas, with Dennis Leder, both for
images and electronics, composed in 1998 and produced at his home studio in Guatemala;
Real-ity for dance, tape and images, and Zonas adyacentes, both pieces composed in 2001
and also produced at his home studio; Gracias for tape, also dated 2001, produced in The
Netherlands at STEIM.
6.13 Mexico
Carlos Chávez (born in Mexico City, 1899; died in the same city, 1978) used electronic
sounds on tape in one of the four acts of his ballet music Pirámide, composed in 1968.
Blas Galindo (born in San Gabriel, Jalisco, 1910; died in Mexico City, 1993) composed
Letanía erótica para la paz for chorus, soloists, orchestra and tape in 1965; and Tres
sonsonetes for wind quintet and tape in 1967.
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Conlon Nancarrow (born in Texarkana, Arkansas, United States, 1912; moved to Mexico
during the 40s; died in Mexico city, 1997) is widely known and recognized for his study
series for player piano.
Some of his works have been performed in concerts through computer controlled
electromechanical systems developed by Trimpin. There are also computer generated
versions from several of his works (Study #21, Study #37) by composers like Rick Bidlack
and Robert Willey.
As it was said before, Nancarrow was experimenting with a tape recorder during the 50s to
see “if he could get the rhythms he wanted by tape manipulation”. His untitled musique
concrète piece would be the first work of that kind produced in Mexico.
Carlos Jiménez Mabarak (born in Tacuba, 1916; died in Mexico City, 1994) composed El
paraíso de los ahogados in 1960, considered the first piece involving electroacoustic media
produced by a Mexican composer.
He also composed: La llorona, ballet music for small orchestra, electronic oscillator,
timpanis, percussions, piano and strings in 1961, and La portentosa vida de la muerte, in
1964.
Jorge Dájer (born in Durango, 1926) composed Acuarimántima for narrator and tape in
1963.
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Manuel Enriquez (born in Ocotlán, Jalisco, 1926; died in Mexico City, 1994), composer,
conductor and performer, was one of the big names of Mexican new music during the last
decades.
Among many other works, he composed several tape and mixed works such as: Viols (Móvil
II) for violin and tape between 1969 and 1972; 3 x Bach for violin and tape, and Mixteria for
actress, four musicians and electronic sounds, both in 1970; La reunión de los saurios for
tape in 1971; Láser I for tape in 1972; Trauma for actress, four musicians and electronic
sounds in 1974; Contravox for mixed choir, percussions and tape in 1976; Conjuro for double
bass and tape in 1976-1977; Canto de los volcanes for tape in 1977; Díptico I for flute, piano
and tape in 1979; Misa prehistórica for electronic sounds in 1980; and Interecos for
percussion and electronic sounds in 1984.
Guillermo Noriega (born in Mexico City, 1926) composed two tape works during the early
60s: Estudio sobre la soledad in 1963, and Seis estudios sobre el espacio y el tiempo in 1964.
Francisco Savín (born in Mexico City, 1927) composed Quasar I for electronic organ and
tape in 1970.
Raúl Pavón (born in Mexico City, 1930), engineer and composer, was a real pioneer of
electrocoustic media and music in Mexico.
He was technical director of the first Electronic Music Lab in Mexico, created as part of the
Composition Workshop at the National Conservatory of Music. With Héctor Quintanar as the
artistic director, this laboratory started its activities in January of 1970. Modular Buchla and
Moog synthesizers were part of the equipment.
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Pavón started to promote the use of electronic musical instruments in his country years before
that first studio was built. He even built a synthesizer during the 60s, the Omnifón.
He also composed some works, such as: Fantasía Cósmica for film, transparencies and
electronic music, 1982; Suite icofónica, mixed media, 1983; Una antifantasía, 1986;
Fantasía de la muerte, 1987; and Fantasía abstracta, 1989; all pieces for visual media and
music on tape.
Raúl Pavón also wrote during the early 80s one of the first original books in Spanish about
electronic music: La Electrónica en la Música … y en el Arte (Electronics in Music … and
the Arts, published in 1981 by CENIDIM).
Alicia Urreta (born in Veracruz, 1930; died in 1986) composed, among other works: Ralenti
for tape in 1969; Natura mortis o la verdadera historia de Caperucita Roja for narrator,
piano and tape in 1971; Estudio sobre una guitarra for tape in 1972; Cante, homenaje a
Manuel de Falla for actor, cantaor, 3 dancers, slides, percussion and tape in 1976; Salmodia
II for piano and tape in 1980; Selva de pájaros for tape in 1978, Dameros II in 1984 and
Dameros III in 1985, both works for tape.
Mario Kuri-Aldana (born in Tampico, Tamaulipas, 1931) composed Señora de los

Santiagos for tape in 1973.
Héctor Quintanar (born in Mexico City, 1936) created several pieces using electroacosutic
media during the 60s and 70s. He composed Aclamaciones for choir, orchestra and tape in
1967, commissioned by the Public Education Secretary of Mexico and premiered at the Fine
Arts Palace of Mexico City by the National Symphony Orchestra, directed by Carlos Chávez,
in July of that same year.
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He composed Sideral I for tape in 1968; and Símbolos for chamber group (violin, clarinet,
sax, French horn, trumpet, trombone, piano), tape, slides and lights in 1969.
In 1970 he became artistic director of the first Electronic Music Lab in Mexico, created as
part of the Composition Workshop at the National Conservatory of Music.
Quintanar composed with the electronic instruments at that lab pieces like Opus 1 in 1970;
Suite Electrónica, Ostinato and Sideral III, all three in 1971; Voz for soprano and electronic
sounds, and Mezcla for orchestra and tape, both in 1972.
Other works by Quintanar are: Play back, for violin, piano, percussion, tape, slides,
photographs and lights, 1970; Diálogos for piano and electronics, and Dúo for percussion and
electronics, both 1975.
More references on Pavón’s research could be found in chapter VIII, section 8.1 Technology
innovators. Early developments.
José Antonio Alcaraz (born in Mexico City, 1938) composed Fonolisia for tape in 1964.
Manuel de Elías (born in Mexico City, 1939), composer and conductor, founding president
of the Colegio de Compositores Latinoamericanos de Música de Arte, includes on his
extensive catalog some pieces composed with electroacoustic media during the 60s and 70s.
Some of them are: Vitral No. 2 for chamber orchestra and tape, 1967; Parámetros I for tape,
1971; and Non nova sed novo for tape, 1974.
Eduardo Mata (born in Mexico City, 1942; died 1995) composed his ballet music on tape
Los Huesos Secos in 1963.
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Julio Estrada (born in Mexico City, 1943) composed eua'on for tape in 1980, using the
UPIC graphic compositional system. The only sound source he used on this work was his
own digitized voice. The title comes from the Náhuatl language.
Another work by Estrada is Pedro Páramo. Composed between 1992 and 2000, this chamber
opera in two acts is scored for six voices, six instruments, noise maker, tape and
choreography.
Jaime González Quiñonez (born in Mexico City, 1943) composed Pieza electrónica for tape
in 1971.
Juan Cuauhtémoc Herrejón (born in Mexico City, 1943; died in Mexico City in 1993)
composed Shankar, El mensaje de una flor, Raga, Cinco ensayos electrónicos and Poema a
Ulises, all five electronic works in 1973; and Alcidia for improvisation group and tape in
1977.
Mario Lavista (born in Mexico City, 1943) composed among other works: Espacios
imaginarios for tape in 1969; Alme, tape recording from a live performance, in 1971;
Contrapunto, collage on tape with music by The Beatles, Rolling Stones, Mahler, etc. in
1972; and Semana Santa entre los Coras, tape for a movie with the same name, in 1980.
Francisco Nuñez (born in La Piedad, Michoacán, 1945) composed, among other works: Los
logaritmos del danés in 1968, A Sacris in 1971, and Vita in 1972, all three works for tape;
Reforma for orchestra and tape also in 1972; Provocación rítmica and Cantos, both pieces for
tape in 1973; Juegos sensoriales for tape in 1987; Tientos en eco II for flute and synthesizer
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in 1988 and Tientos en eco II for flute, piano and synthesizer in 1989; Follajes, for violin,
cello, double bass and electronics, 1990.
He founded a small analog lab at Escuela Superior de Música del Instituto Nacionlal de
Bellas Artes - INBA (Superior School of Music of the Fine Arts National Institute) during the
early 80s.
Max Lifchitz (born in Mexico City, 1948) composed, among other works: I got up for
trombone, double bass, percussion and tape (or live electronics), and Black pearls for tape,
both in 1974.
Arturo Marquez (born in Alamo, Sonora, 1950) composed among other pieces: Mutismo for
2 pianos and tape in 1983; Di-verso mixmedia for voice, dance and electronic sounds in
1984; Master pez II for electronically modified harp and optional score projection in 1985;
Sin título for tape, realized working with photographic cameras electronically modified,
Mascletá y fuga for synthesizers or piano and tape, with fireworks, and Poesía de la voz for
tape, with voices electronically modified, all three in 1988; Son a Tamayo for harp, DAT
tape, optional percussion and optional video in 1992; Danzón No.1 for flute, alto sax and tape
in 1992.
Victor Manuel Medeles (born in Ajijic, Jalisco, 1943) composed Fluorescencias for flute
and tape in 1986; and Invenciones a una voz for voice, harp, percussion and tape in 1988.
Federico Álvarez del Toro (born in Tuxtla Gutiérrez, Chiapas, in 1953) composed among
other works: Gneiss for orchestra, tape and four soloist voices, with texts by the composer, in
1980; Ozomatli for mixed choir, metals, percussions and tape in 1982; and El espíritu de la
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tierra, symphony in three movements for marimba, orchestra and tape, between 1983 and
1984.
Jorge Córdoba (born in Mexico City, 1953) composed among other pieces: Juegos sonoros
for prepared piano and tape in 1983; Alternativas sobre un cuadro de Rodolfo Nieto in 1987;
Jardines Interiores for winds, percussions and tape in 1988; and Impulsos V for orchestra and
tape, with the recorded voice of painter Rodolfo Morales, in 1992.
Guillermo Dávalos (born in Gaudalajara, Jalisco, 1953) composed A dúo for guitar and tape
in 1980; Diálogo for flute and tape in 1982; Astral for tape in 1982; and Bali for synthesizers
in 1986; among other works.
Ricardo Martinez (born in Monterrey, 1953) composed: Encounter for electroacoustic

sounds on tape in 1978, manipulating recordings of birds songs; Proyección I and Proyección
II for electroacoustic sounds on tape in 1978, working with an ARP 2600 synthesizer; Earth
I and Earth II for electroacoustic sounds on tape in 1979, using a Synclavier digital
synthesizer; Arco iris for electroacoustic sounds on tape, also in 1979, realized with an
analog Buchla synthesizer and Synclavier; Gardenia I and Gardenia II for electronic sounds
on tape in 1981, produced with and ARP 2600; Looking for a shadow for electroacoustically
processed guitar and tape in 1983; Exploración II and Exploración III for electronic sounds
on tape in 1990, realized with a Korg Wave Station digital synthesizer; Exploración VIII,
Exploración IX, Exploración X and Exploración XI for electronic sounds on tape in 1995,
produced with Mini Moog analog synthesizer; Exploración XVI, Exploración XVII ,
Exploración XVIII, Exploración XIX and Exploración XX for electroacoustic sounds on tape
in 1998, working with an Apple running Softsynth software.
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Antonio Russek (born in Torreón, Coahuila, in 1954) has been working with electroacoustic
media in his music for many years and has an extensive catalog of electroacoustic, mixed and
live electronic works.
Among other pieces, Russek composed: Atmósfera 1, concrète music on tape in 1977;
Estudio Electrónico No.1 for electronic sounds on tape in 1979; Estudio Electrónico No.2 for
electronic sounds on tape, also in 1980; Aleaciones 1 for electronic sounds on tape in 1980,
and Aleaciones II in 1981, both in collaboration with Samir Menaceri; Para espacios
abiertos for tape and 8 speakers, to be performed on open spaces, in 1981; Reincidencias for
tape, produced at CENIDIM with the analog Buchla synthesizer, and Summermood for
amplified bass flute with real time electroacoustic processings, both also in 1981;
Coexistencias for prepared piano and tape in 1984, with Mario Lavista; Discursos for actor
and tape, also in 1984; Canon al aire for eight timpanis and tape, and A4 for live electronics,
collaboration with Samir Menaceri, Roberto Morales and Vicente Rojo, both in 1985;
Conjetura (Estudio para computadora No. 5) for tape in 1986; Punto de Fuga II, open air
performance with music and visuals, collaboration with Samir Menaceri, Roberto Morales,
and Vicente Rojo, in 1987; A toute vitesse for tape in 1988, created with the UPIC system in
Paris, France; Luz de invierno for cello with real time electroacoustic processings and tape, in
1988 too; Ohtzalan for electronic sounds on tape in 1990; Diez miniaturas for tape between
1980 and 1990; Concretando for tape, and Nextalgia, electronic FM sounds generated with a
NeXT computer at CCRMA (Stanford University, United States), both in 1993; Viernes
Santo for CD in 1997, realized at LIEM in Madrid, Spain; Babel de nuevo for CD in 1998;
Siete laberintos de cristal for electronic sounds on CD, and Desiertos for percussion and
electroacoustic system, both in 1999; Babel de Nuevo II, acousmatic music, in 2000; La
Torre and LU, both acousmatic pieces (on eight audio channels), in 2001; Divertimento I,
acousmatic music (on eight audio channels) in 2002; Convexo for eight audio channels and
four video channels, En Círculos I and En Círculos II, all three in 2003; El Ángel, acousmatic
music (on eight audio channels), De Cuerpo Entero, acousmatic music, Laps & Loops, open
piece for six audio channels and real time video, and Unplugged, all four in 2004.
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Guillermo de Mendía (born in Mexico, 1955) composed Life is nothing but a dream in
1993.
Bernardo Feldman (born in Mexico City, 1955) composed: Manel xochitl, manel cuicatl for
soprano, flutes, oboe, clarinet, violin, viola, two cellos, double bass and four tracks tape, in
1985; ¡Oh, cetecho! for real time computer processing from voices of people in the street, in
1987; Onírica, version for piano, harp or flute, effect processor and DAT in 1988; Koliding-
scopes for harp and DAT, in 1989; and A hierro forjado for violin and DAT, in 1993; among
other works.
Roberto Medina (born in Morelia, Michoacán, 1955) composed, among other pieces:
Estudios and Visiones cautivas, both in 1989; and Marina in 1990; all three works for tape.
Arturo Salinas (born in Monterrey, Nuevo León, 1955) composed: Nijawi for tape in 1976;
Damaru for tape and optional images in 1979; Vindu in 1981, Umbral in 1986, Lumil in
1991, and Nunutsi in 1997, all four works for tape.
He was also working with sound installations; some examples are: Dao, 1974; Úmai, 1985;
Estrellas para Gabriel, 1988; and Espacio nocturno, 1993
Lilia Vázquez Kuntze (born in Mexico City, 1955) composed among other pieces: Efluvios
selváticos for tape in 1983.
Javier Alvarez (born in Mexico City, 1956) has been using extensively electroacoustic
media in his musical compositions. Among others, his works received awards at the Bourges
Competition in 1985, 1987 and 1989 and the Prix Ars Electronica in 1988, 1993 and 1995.
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Some of the pieces composed by Alvarez are: Te espera esa chispa for 8 amplified voices,
tape, trombone, 2 percussionists, prepared piano and double bass, 1982; Tid tuq for tape,
1983; Temazcal for amplified maracas and electroacoustic sounds, 1984; The Panama Files
for electroacoustic sounds, 1986; Papalotl for piano and electroacoustic sounds, 1987; Edge
Dance for electroacoustic sounds, 1987; On going on for baritone saxophone and
electroacoustic sounds, 1987; Así el acero for amplified tenor steelpan and electroacoustic
sounds, 1988; Acuerdos por Diferencia for harp and electroacoustic sounds, 1989; Mambo
for soprano, tenor, baritone, bass, clarinet, sax, flute, trombone, cello, electric bass,
percussion, piano, keyboard and slides, 1990-1991; Mambo à la Bracque, for electroacoustic
sounds, Shekere, for shekere gourd, bass drum and sampler interactively controlled, and
Gramática para dos for synthesizer, all three works 1991; Mannan for kayagum (a Korean
zither) and electroacoustic sounds, 1992; Mambo Vinko for trombone and electroacoustic
sounds, 1993; Also Sprach Dámaso for any melody instrument and electroacoustic sounds,
1993; Calacas Imaginarias for chamber choir and electroacoustic sounds, 1994; Pyramid,
music for young performers, synthesizers and/or instruments and electroacoustic sounds,
1996; Offrande for tenor and baritone steel pans & electroacoustic sounds, 2001; and Cactus
Geometries for electroacoustic sounds, 2002.
After many years in England, Alvarez returned to live and work in Mexico in 2004.
Samir Menaceri (born Carhaix, France, 1956) composed several works involving
electroacoustic media, among them: Aleaciones I in 1981 and Aleaciones II in 1982, both in
collaboration with Antonio Russek; Cantos acuáticos and Aphelion in 1984; A4 for live
electronics, collaboration with Roberto Morales, Vicente Rojo and Antonio Russek, in 1985;
Punto de Fuga II, open air performance with music and visuals, collaboration with Roberto
Morales, Vicente Rojo, and Antonio Russek, in 1987; Mantis in 1988; M and Extinción in
1990. He also composed La Condenación de Fausto in collaboration with Roxana Flores,
Carlos Robledo and Antonio Russek.
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Menaceri was part of the group MASOS, together with Roxana Flores and Vicente Rojo. In
1989? they created Diálogo de sordos, Encuentro, Inicio, Marcha, Reposo and Rito, all
pieces published in the LP: Música para después de la batalla.
He has been living in Mexico for many years.
Carlos Sandoval (born in 1956) composed Homenaje in 1991; and Liz Mix for tape in 2002.
Eduardo Soto Millán (born in Mexico City, 1956) composed among other works:
Composición I, version for piano and tape, in 1981; Mexihco for tape and Marceleste for
amplified bass flute in C and tape, both in 1986; Madrágora for synthesizer, percussion and
tape in 1990; and Amanita for two harps and DAT tape in 1991.
Soto Millán is the author of Diccionario de Compositores Mexicanos de Música de

Concierto. Siglo XX, published in Mexico by FCE and Sociedad de Autores y Compositores
de Música (volume I, 1996; volume II, 1998).
Ignacio Baca Lobera (born in Mexico city, 1957) is Professor of Composition, Analysis and
Electronic Music at the Autonomous University of Querétaro.
Among other pieces Baca Lobera composed: Sin Título for oboe and tape in 1997; Music for
William for tape in 1999; Five pieces, electronic music on tape, between 1999 and 2000;
Notes from the Basement for flute and tape, and Recall for guitar and tape, both in 2000;
Estudio de Resonacia I for piano and tape, Estudio de Resonancia II for tape, Archipiélago
for bass clarinet and tape, Abs I and Abs II for tape, and Variación for harpsichord and two
boom-boxes, all six pieces in 2001; Flauta y cinta for three processed flutes, Cinta 2 for tape,
Un dia como cualquier otro for percussion and tape, and AXS for sax and tape, all four works
in 2002. All these pieces were realized at his personal studio.
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Since 1997 Baca Lobera is fellow of the National Systems for Creators of FONCA in
Mexico. He was also named fellow of the Guggenheim Foundation in 2001.
Roberto Morales-Manzanares (born in Mexico City, 1958) has been working extensively in
the computer music field, composing, researching and performing with acoustic instruments
and live electronic systems too.
Among other works he composed: Rey Lear for synthesizers, piano, flute, harp and maracas
in 1980; Agua derramada for synthesizers and tape, and Jabirú for chamula harp, tape and
synthesizer in 1984; Conversa for synthesizer and fretless electric bass in 1985; Sombras for
synthesizer, and Relámpagos azules for flute, percussion, synthesizer and tape in 1986;
Desvelo 13 for computer and orchestra, Shidve for synthesizers and computer, Nahual II for
chamula harp, synthesizers and computer or CD, and Cempaxuchitl (Introspección y
pensamientos) for flute, WX11 MIDI wind controller, Yamaha SY77 synthesizer and SPX90
effect processors, all four in 1990; Servicio a Domicilio for piano, synthesizer and computer
in 1991; Mineral de Cata for pre-hispanic flutes and computer in 1993; Nueva for computer
(using the Escamol system) and disklavier in 1994; La Travesía for orchestra and tape in
1997; Espacios Virtuales for dancers, sensors, computer and MIDI flute in 1996; Murmullo a
voces for tape, Pellegrina for CD and concert guitar, Trío de Cuatro for flute, clarinet, piano
and computer, and Con Carne for Disklavier keyboard and computer, collaboration with
Jonathan Berger, all four in 1998; Armónicos y Subarmónicos for flute and computer, and
Concierto No.1 para contrabajo, computadora y orquesta for double bass, computer and
orchestra, both in 1999; Arquetipos for orchestra and computer (live) in 2001; and Flor
Granular for piano using Buchla sensors and computer (live) in 2003. One of his newest
works, Cenzontle for flute, video and electronics, was awarded in 2005 at the 32e Concours
international de musique et d’art sonore electroacoustiques de Bourges, France, in the
multimedia category.
Morales developed the aforementioned Escamol system, “an algorithmic tool for composition
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which uses non-deterministic automatons controlled by rules” (Morales, E. and Morales, R.

(1995). Learning Musical Rules), and published several research papers about mathematics,
computing and music. More references on his research could be found in chapter VIII,
section 8.2 Recent research.
Gonzalo Macías (born in Humantla, Tlaxcala, 1958) composed among other pieces: Uno de
los caminos for percussion and tape in 1990; La Mise à Mort for tape in 1994; Improvisación
II for guitar and tape in 1998; and El sensor for tape in 1999.
Antonio Navarro (born in Guadalajara, Jalisco, 1958) composed among other pieces:
Constelaciones for two guitars and tape in 1980; and Iluminaciones for piano and live
Ana Lara (born in Mexico City, 1959) composed Tras la ventana for electroacoustic sounds
in 1994, and Viejas historias, ballet music with electroacoustic sounds on tape, in 1998.
Víctor Rasgado (born in Mexico City, 1959) composed HueHue cuicatl for tenor and tape,
and Clamoreo for clarinet and tape, part of the opera Anacleto Morones, both in 1991;
Mictlán for percussion and tape in 1992; Amnios for tape in 1995; ¡Lo que tuve que tirar! for
soprano, amplified double bass and tape in 1996.
Guillermo Galindo (born in Mexico City, 1960) has been composing extensively with
electroacoustic media in his music.
Among other works, Galindo composed: Valentina Cubista for piano and tape in 1994;
Detachment/ Desprendimiento for computer controlled Disklavier using just intonation in
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1999, realized at The Banff Centre in Canada; Dualidad for marimba and pre-recorded
sounds in 1999; Haiku II for flute and recorded ambiance in 1999 (revised 2000); Cisma for
bass, flute and pre-recorded sounds in 2001; Ajolote Virtual , created for Don Buchla’s
infrared control beams instrument Lightning, in 2001; Sacrificio, a work exploring socio-
cultural subjects, including sound transformation via video and performance art, in 2002;
Transmission Series, a group of pieces exploring the sonic space and using four FM radio
transmitters, created in collaboration with Chris Brown, and Hybd Sn_d multidimensional
diorama, live transformation of specific sonic spaces, both in 2002.
Galindo also composed three electroacoustic operas: Califas 2000-Part I, Jurassic Aztlan in
collaboration with writer/performance artist Guillermo Gomez Peña, Decreation Fight
Cherries with poet Anne Carson, and Califas 2000-Part 2, Jurassic Aztlan also with
Guillermo Gomez Peña. Dioramas and sound installations: No Dogs Allowed in Heaven,
sound installation in collaboration with Fernando Hernandez and José Manuel Galindo; (T)
our Time, 1997, sound installation for towers around the world; MAIZ, 2002, an interactive
noise maker robot. And music for videos, films and dance: Kiyohime, an electroacoustic
dance suite dated 1997, among others.
Nowadays Guillermo Galindo lives in the United States.
Salvador Rodriguez (born in 1960) composed Reflejos for piano and tape in 1994.
Vicente Rojo (born in Mexico City, 1960) composed Algas marinas in 1981, Imafén in 1982,
and Vulcán in 1980-1983,all three works for tape; Envolvente for narrators, violin, percussion
and synthesizer in 1984; Trío for live electronics, collaboration with Antonio Russek and
Roberto Morales, and A4 for live electronics, collaboration with Antonio Russek, Roberto
Morales and Samir Menaceri, both in 1985; Nadie es inocente and Claroscuro in 1988, and
Otoño perdido in 1990, all three works for tape; Marabunta, for sax, live electronics,
synthesizer, and tape in 1990; among several other works involving electroacoustic media.
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Rojo was part of the group MASOS, together with Roxana Flores and Samir Menaceri. In
1989 they created Diálogo de sordos, Encuentro, Inicio, Marcha, Reposo and Rito.
Antonio Fernández Ros (born in Mexico City, 1961) composed: Para no volver in 1991,
Con jícamo and Retrato interno de familia in 1992, all of them for tape; Aritmética del sol for
bongos and tape in 1994; Terracota for tape in 1995; La doccia, installation for 24 speakers
and 24 tracks in 1996; and Ahí dentro estaba todo for tape in 1997.
María Granillo (born in Torreón, Coahuila, 1962) studied music at CIEM and UNAM in
Mexico, and later in London, England, where she obtained a Master of Arts from Guildhall
School of Music working in electroacoustic music.
Among other works, she composed: Quien me compra una naranja for soprano and tape in
1991; Matrika for tape in 1992; and Canciones de cuna for voice, flute, cello, piano,
percussion and synthesizers, in 1995.
Alejandro Escuer (born in Mexico City, 1963) composed Herrajes for solo flute and
recorded flutes ensemble in 2000, and Octum for eight spatialized flutes in 2001.
The early works by Manuel Rocha Iturbide (born in Mexico City, in 1963) with
electroacoustic media are: Los números de Pitágoras, for computer generated sounds, 1988,
realized with a digital system by artist Juan Luis Diaz; Trance lumínico for saxophone,
xylophone, vibraphone and computer, Avidya, electroacustic composition for digital tape and
video, and Estudio antimatérico no.1 for digital tape, realized with an Oberheim Xpander
synthesizer, all three works composed in 1989. The following year he composed ATL for
digital tape, and then in 1991: Frost clear energy saver for refrigerador, double bass and
digital tape, and also Bandas de pueblo for French horn, trombone, tenor saxophone, soprano
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saxophone, trumpet, percussion, Mexican village band and digital tape. In 1992 he composed
Estudios Arbóreos, working with the UPIC system, and then in 1993 Ligne d'abandon, a
digital tape piece for an exhibition with installations by artist Gabriel Orozco. Bewteen 1993
and 1994 Rocha composed Transiciones de fase, an interactive work for trumpet, French
horn, trombone, tuba and computer; and then two tape pieces: SL-9 in 1994 and Móin Móir in
1995.
During 1998 Manuel Rocha created Pocos Cocodrilos Locos, Four electroacustic interludes
based on Mathias Goeritz and Compresión Tiempo-Espacio de un Habitat, all three pieces
for digital tape. Dated 1999 is Off side, an electroacustic work with slide show. In 2001 he
composed: Rebicycling, for four digital tracks and video, Semi No Koe for flute and digital
tape, Cantos Rituales for live electronics, and Parlantes for live electronics with video. Dated
2002 is Mucho más ricos for digital tape; and dated 2003 his piece ... EVEN ...
Gabriela Ortiz (born in Mexico City, 1964) composed among other works: Magna Sin for
steel drum and tape in 1992; Five Micro Etudes for tape in 1993; Things like that happen for
cello and tape, and El Trompo for vibraphone and tape, both in 1994.
Pablo Silva (born in Mexico City, 1964) studied music at Escuela Nacional de Música in
Mexico and at California Institute of the Arts in Los Angeles, United States. He was
coordinator of LIEMM, the Laboratory of Musical Computing and Electroacoustic Music
(Laboratorio de Informática Musical y Música Electroacústica) at the aforementioned Escuela
Nacional de Música, from 1995 to 2001.
Silva composed, among other pieces: Where to? piece for live electronics using synthesizers
and computer, in 1991; Now I Know, Now I Sing, Now I Dance for clarinet, 2 marimbas and
synthesizer in 1993; Weave for synthesizer, MIDI wind controller, MIDI keyboard controller
and computer, also in 1993; Nocturno v.3.0, electroacoustic piece, in 1999; De silentii natura,
de corporum natura, for percussion and electronic media in 2000; and Sobre el Agua for tape,
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in 2004. All the electroacoustic parts for these pieces were realized by Silva at his personal
home studio.
He performs live electronics and interactive systems in group improvisations, too.
Carole Chargueron (born in Bollène, Vaucluse, France, 1966) composed Agnioétiomix for
tape in 1999; and Fluide for flute and tape in 2001. She lives in Mexico since 1998.
Alejandra Odgers (born in 1967) composed Nitiicasi for flute, bass flute and electroacoustic
sounds in 2000.
Odgers has been researching the development of electroacoustic music in her native
country and wrote for her graduation thesis at Escuela Nacional de Música: La Música
Electroacústica en Mexico (2000), an extensive catalog listing composers names, their works,
and related information.
Rodrigo Sigal (born in Mexico City, 1971), composer and sound recording engineer,
collaborated with the creation and start-up of the Laboratorio de Música por Computadora del
CIEM - Centro de Investigación y Estudios Musicales (Computer Music Lab at the Musical
Research and Studies Center) in Mexico between 1994 and 1998. He finished his PhD Thesis
Compositional Strategies in Electroacoustic Music in 2003 at City University, London.
Among other pieces he composed: El firmamento for piano and tape, and El firmamento II
for flute, clarinet and tape, both in 1997; Lagarto for ensemble and tape in 1998; Dolor en mi
for guitar and tape (live electronics optional) in 1988; Fe for piano and tape, and Babel for
flute and tape (live electronics optional), both in 1988; Cycles for electroacoustic sounds in
1999; Real scream, soundscape on CD between 1998 and 2001; Tolerance for cello and
electroacoustic sounds in 2000; Twilight for bassoon and electroacoustic sounds in 2001;
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Rimbarimba for marimba and electroacoustic sounds; Friction of things in other places for
electroacoustic sounds, both in 2002; Liquid Fear for ensemble, electroacoustic sounds and
video in 2003; and Boredom of familiarity for tape, Power nap for woodwind quintet and
tape, and Sonic farfalla for flute and tape, all three pieces in 2004.
Sigal is also active in promoting electroacoustic music through concerts and seminars.
José Ricardo Cortés (born in Mexico City, 1972) studied at the National School of Music of
UNAM in Mexico City. He has been teaching multimedia and music technology.
Marcelo Gaete (born in 1972) composed 4 rooms for cello, DAT and video, and Partitura
visual for clarinet, flute, two violins, tape (to be spatialized) and video, both in 1999. He is
Director of Kalispherion, a group of experimental and contemporary music that performs
multimedia works involving musicians, visual artists, actors and choreographers.
Rogelio Sosa (born in Mexico City 1977) composed Nocturnal for tape in 1999; Maquinaria
del Ansia for tape, and Tenso for amplified guitar and tape, both in 2000; Tenso II for
electroacoustic sounds, and Ejecta for trombone and electronics, both in 2001; and Espasmo
fulgor for violin and electronics in 2002.
Many other Mexican composers have been using electroacoustic media in their music. Lan
Adomián composed Interplay for orchestra and tape in 1975. José Amozurrutia composed
Transferencia for prepared piano and tape recorders in 1976. Guillermo Acevedo composed
Punto de Partida for tape in 2002. Alejandro Esbrí composed Fusiones for tape and
corporal expression group, and Fisiones, an electronic suite on tape, freely related to Julio
Cortazar’s Rayuela, both in 1984; Preludio al fin de los tiempos for tape, in 1988; Deseos
dorados, ballet music on tape, in 1991; and Elegía (para Juan Herrejón) for tape in 1993.
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Pablo García composed Gutura for tape in 2000; and Gongapplause in 2003. Alejandra
Hernández composed Pies, para que los quiero for zapateado, electroacoustic sounds, lights
and video in 1998-1999. Miguel Hernández composed Plaza Bolívar for tape in 2002.
Daniel Lara composed Amplitud Modulada for for tape in 2002. José Ramón Mondragón
composed Salón de Belleza for tape in 2002. The group MU created Mielina and Mu 03 in
2004, and Mu 09 in 2005. Alberto Nuñez composed Malena en la fábrica for tape in 1972.
Víctor Rivas composed Metagloborfis for tape in 1998. Jorge Reyes composed Zocaloop for
tape in 2002. Aldo Rodriguez composed Divertimento for flute, piano and electronic media
in 1987; Dos canciones for tenor with electronic processing and piano in 1990; Evento II for
soprano, narrator, 10 strings guitar and computer, and Ocaso del tiempo o el tiempo aclara lo
que el otro tiempo nubla for piano, synthesizers and computer, both in 1991. Víctor Romero
composed Voces Canto I for tape in 2000. Luis María Sánchez composed Radio 1 for tape
in 1997. Salvador Torre composed Bird for alto sax and tape in 1990. Mauricio Valdés
composed Tientas for tape in 2001.
There are also works involving electroacoustic media by Andrés Argil, Federico Alvarez
del Toro, Alfredo Antúnez, René Baruch, Gerardo Cárdenas, Ricardo Cinta, Alma
Siria Contreras, Raúl Cortés, Juan Fernando Durán, Leandro Espinoza, Ernesto
García de León, Francisco González Christen, Arturo Jiménez, Fernando Javier López,
Antonio López-Ríos, Juan Ramón Meza, Ricardo Miranda, Ricardo Niño, Hilda
Paredes, Gabriel Pareyón, Jorge Paz, Jorge Ritter, Marcela Rodríguez, Bonifacio
Rojas, Hugo Rosales, Carlos Sánchez, Rocío Sanz, Alejandro Saqui, Gerardo Tamez,
Nicandro E. Tamez, Verónica Tapia, Raúl Tudón, Cynthia Valenzuela, Hebert
Vázquez, Mariana Villanueva, Sergio Villarreal and Alberto Zapata, to name but a few.
6.14 Panama
Emiliano Pardo-Tristán (born in Santiago de Veraguas, 1960) composed MICROETUDES

for vibraphone and electronics in 2002, working the electronic part with the Csound software.
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Pardo-Tristán also includes this piece as part of his COLLAGE for violin, vibraphone, guitar,
double bass, batá drums and electronic music, created also in 2002. Pardo-Tristán is living in
Philadelphia, United States.
According to information provided by Pardo-Tristán in January, 2003, there were not

electronic music studios or concert activities including electroacosutic music in Panama.
Samuel Robles (born in Panama City, 1974) have been composing also some works using
electronic media: The tell-tale heart for piano and tape, realized at his personal studio in
Panama during 1998, and Voices trapped, using his own voice as sound source, later
computer processed with C-mix, realized in the United States in 2000.
David Soley (born in Ancon, 1962; a U.S. territory at that time) has worked with computers
in his music: Torso-trozos for tape, 1993, and Línea for Zeta violin, Radio Baton, sampler,
sample playback and tape, originally composed 1986-1987, and revised during 1994-1995.
Soley wrote:
The title “Línea” (Spanish for “line”) reflects the basic idea of the work. A line, first
heard in the viola after a very brief electronic introduction, is used to derive various
figures, ornaments, harmonies and other lines throughout the course of the work.
Línea utilizes a 5-string Zeta violin/viola, an E-mu E-IV sampler, a DAT player, E-
mu Proteus sample playback and Max Mathews’ Radio-Baton. Created by Max
Mathews, the Radio Baton is a controller for live computer music performances. It
tracks the motions - in three dimensional space - of the ends of two batons which are
held in the hands of a performer. The 3-D trajectories of each baton are used to
control the performance. The Baton is a MIDI instrument and is intended to work
with other MIDI devices including synthesizers and computers.
Soley, D. (1997). Computer Music @ CCRMA, Volume Two. CCRMAV02. United

States: CCRMA.
David Soley moved to the United States in 1979.

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6.15 Paraguay
Luis Szarán (born in Encarnación, 1953) is conductor, composer and researcher. He is one
of few musicians that has been working with electroacoustic media in Paraguay. Mostly
devoted to compose acoustic music, he also created: Reencuentro for violin, clarinet, cello,
piano and synthesizer in 1983; and Mimesis for cello and synthesizer in 1992.
René Ayala (born in Asunción, 1957) has been working with electroacoustic media in his
music for several years.
Among other works, Ayala composed: Vida, Pasión y Muerte a la Medianoche in 1981;
Cuando la lluvia cae in 1986; Espejos, Graffiti and Anguekoi, all three pieces in 1987; music
for the video Perdidos by Ray Armele in 1990; Pay, with coreography by Francisco Carballo,
in 1993; Hilos in 1994; Ombyka in 1995; Quitando envolturas in 1996 and Sintonía de dos
mundos in 1997, both with coreographies by Mari Carmen Niella; music for the videos En el
camino a Sawho yamaxa and Xakmok Kasek, by Malú Vázquez and José Elizeche, in 2001;
and Salmos, also in 2001. He also composed Desconcierto para chapa y percussion and Las
Sirenas.
Ayala created Campanellas in 1983, first a musical group, turned later in an evolving project
based mainly on electroacoustic and experimental music, integrating contemporary academic
music languages together with jazz, rock, and Latin American folk.
Daniel Luzko (born in Encarnación, 1966) is composer, pianist and conductor. He composed
among other pieces: Ballet Suite and Dimensions, both in 1991, and Study for Sound Design
in 1993, all three works for tape. He also composed Adriana for violin (with sound distortion)
in 1997.
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Hugo Guillermo Villagra Roa (born in Asunción, 1982) is a young composer coming from
the rock scene who is also working in experimental music with electroacoustic media. He
composed El Duende in 2001 and La Guerra in 2003.
6.16 Peru
Celso Garrido-Lecca (born in Piura, 1926), a well-known composer of symphonic and

chamber music, composed in 1971 an electronic piece for tape, Estudio Nº 1, while he was in
Chile (the composer lost that tape when he left the country in 1973). In 1972 he composed El
movimiento y el sueño, a piece he revised and re-orchestrated in 1984 for two narrators,
mixed choir, instrumental ensemble and tape (including concrète sounds).
Enrique Pinilla (born in Lima, 1927; died in Lima, 1989) composed Prisma for tape in
1967, the piece was realized at the Columbia-Princeton Electronic Music Center in New
York. Another piece by Pinilla, Trio para flauta, percusión y cinta magnética for flute,
percussion and tape, is mentioned in some documents but probably was never realized.
César Bolaños (born in Lima, 1931) went to New York during the 50s to study at the RCA
(Radio Corporation of America) Institute of Electronic Technology. Then in 1963 he received
a fellowship to study in Buenos Aires at CLAEM with Ginastera, Nono, Messiaen, Copland,
Maderna and Asuar, among others.
At CLAEM Bolaños composed his first tape piece in 1964, Intensidad y Altura, being also
the first electroacoustic music composition produced at that Center, while its lab was still
during its first stage of building.
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Intensidad y Altura is based on the homonymous poem by César Vallejo. At that time the
CLAEM had three tape recorders of diverse quality (one Ampex stereo, one Grundig stereo
and one Philips mono), a white noise generator, a band-pass filter and a speed variation
device. Bolaños used as sound sources three voices, white noise and different metal plates.
During the next several years Bolaños worked extensively with electraocoustic and computer
techniques in his music, composing tape and mixed pieces, using live electronics and also
multimedia. Some of his works are: Lutero, electroacoustic music on tape for theatre, and
Yavi, electroacoustic music for a short film, both 1965; Dos en el Mundo, electroacoustic
music for a full-length movie, Las Paredes, electroacoustic music on tape for theatre, and
Interpolaciones for electric guitar and tape, all three works 1966; Espacios I, Espacios II and
Espacios III, electroacoustic pieces for dance, 1966, 1967 and 1968 respectively; Alfa-
Omega, based on biblical texts, for two reciters, theatrical mixed choir, electric guitar, double
bass, two percussionists, two dancers, magnetic tape, projections and lights, 1967; I-10-
AIFG/Rbt-1 for three reciters, French horn, trombone, electric guitar, two percussionists, two
technical operators (lights panel, lights keyboard and six radios), nine synchronized slide
projectors, magnetic tape, amplification for the acoustic instruments and black lights for the
individual scores, 1968, with general coordination based on a “programmed automatic light
signal system controlled by perforated paper” (Bolaños, C. 2004. Personal communication);
and Flexum for magnetic tape and wind, string and percussion instruments, 1969.
During his years at CLAEM Bolaños was teaching composition from 1964 to 1970, and
composition with electronic media from 1964 to 1967. He was also there in charge of the
design and building of the first electronic music lab.
Being also an active researcher, Bolaños was working on electroacoustic and music between
1964 and 1970, sound and image between 1965 and 1968, and also on computers and music
between 1969 and 1970 (Bolaños, C. 2004. Personal communication). On this last research
he worked together with mathematician Mauricio Milchberg with support by Honeywell Bull
and later by Olivetti Argentina.
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Bolaños and Milchberg were using computers during the late 60s to build compositional
structures. ESEPCO, the generic name they used for those works, stands for “estructura
sonoro-expresiva por computación” (computer sound-expressive structure). Sialoecibi
(ESEPCO I) for piano and one reciter-mime-actor, and Canción sin palabras (ESEPCO II)
for piano with two performers and tape, subtitled Homenaje a las palabras no pronunciadas,
both 1970, are two works representative from this period.
After 1970 Bolaños returned to Peru and devoted himself mainly to musicological research.
An exception to that, between 1986 and 1993 he was teaching a sound course
(“Sonorización”) at the Faculty of Communication Sciences in the University of Lima.
Bolaños wrote several books, among them: Técnicas del montaje audiovisual, published by
the National University of Litoral, Santa Fe, Argentina, in 1969.
Olga Pozzi Escot (born in Lima, 1931), composer and theorist, studied music in Peru, United
States and Germany. She composed, among other works: Interra II for piano (left hand) and
pre-recorded piano on tape in 1980; and Mirabilis I for live and pre-recorded viola.
She has been living in the United States for many years.
Edgar Valcárcel (born in Puno, 1932) was also one of the Latin American composers that
studied in Buenos Aires at CLAEM during the early 60s (1963-1964), but it was when he
received a Guggenheim fellowship to work at the Columbia-Princeton Electronic Music
Center in New York that he composed his first pieces using electronic sounds. Invención for
tape was composed there in 1967, using electronic sound wave generatos and filtered white
noise, and applying tape editing and looping techniques. Valcárcel also composed at that
center his Canto Coral a Túpac Amaru for choir, percussion and tape in 1968.
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In Zampoña Sónica for flute and electronic sounds, composed between 1968 and 1976,
Valcárcel also made use of electronic sounds he produced during his stay at the Columbia-
Princeton Electronic Music Center.
In 1976, during his stay in Montreal as Visiting Professor at the Faculty of Music of McGill
University, Valcárcel composed Flor de Sancayo for piano and tape, realized at the
Electronic Music Studio of that University.
Now at his seventies, Valcárcel feels that the dream to keep working on the electronic music
field was impossible to accomplish in his own land (where he lives) because of the dramatic
social, economical and cultural situation there. In spite of that, he never looses his
expectations (Valcárcel, E. 2003. Personal communication).
Pedro Seiji Asato (born in Lima, 1940) composed Quasar III for tape and percussion in
1972. He was experimenting serial and dodecaphonic techniques during the 70s, but since
then turned his language using only a modal approach to composition.
Alejandro Núñez Allauca (born in Moquegua, 1943) was studying in Buenos Aires at
CLAEM during the 60s (1969-1970). He composed Gravitación humana for tape there, in
1970. Another piece by Nuñez Allauca is Variables for six and magnetic tape, dated 1967.
Arturo Ruiz del Pozo (born in Lima, 1949) studied at the National Conservatory of Music in
Lima and later at the Royal College of Music in London. There he studied composition and
electronic music. He received in 1976 the scholarship that led him to England, where he
received a Master in Music degree in 1978.
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Del Pozo composed his Canciones Nativas (including Lago de Totoras, Despegue and
Noche, among others) in 1978 working at the Royal College of Music; and in 1985 Nocturno,
for 3 performers and electronic sounds.
Rajmil Fischman (born in Lima, 1956) left his native land to study and develop his musical
career mainly in Israel and England, where he is living now.
Fischman studied electrical engineering as well as composition, and has been working with
computer media since the mid 80s. He composed: Spacezoo for computer generated tape in
1988; Los Dados Eternos for oboe, tape and real time processing in 1991; Dreams of Being in
1991, and Sin Los Cuatro in 1994, both for tape; Cold Fire in 1994, The Day After … in
1995, and Dance Suite in 1996, all three pieces for string quartet and tape; Alma Latina in
1996-1997, Beikvot Havolcano (joint composition with Israeli Tsippi Fleischer) in 1997,
Barren Lands also in 1997, and Kol HaTorr in 1998, Erwin’s Playground, And I Think to
Myself …, both in 2001, A Short Tale in 2002, all of them for tape; No Me Quedo ...
(plantado en este verso) for saxophone, bassoon, violoncello, percussion and tape in 2000,
among other pieces.
Research papers by Fischman has been published by the Journal of New Music Research,
Organised Sound and Leonardo Music Journal. He also contributed with two chapters to The
Csound Book edited by Richard Boulanger, published in 2000 by The MIT Press.
He also has been developing some musical software. More references on Fischman research
projects could be found in chapter VIII, section 8.2 Recent research.
José Sosaya (born in San Pedro de Lloc, La Libertad, 1956) has been composing several
works using electroacoustic media, among them: En tomo … for guitar, effects’ processor and
tape in 1994; Evocaciones in 1994, realized at LIEM - Laboratorio de Informática y
Electrónica Musical in Madrid, Spain; Impresión in 1996; and Voces in 2000.
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Sosaya founded an Electroacoustic Music Laboratory at the National Conservatory of Music

of Peru in 1995, and was directing it until 1996.
Gilles Mercier (born in Paris, France, 1963) studied music in Peru and France. He created
more than 36 pieces working with electroacoustic media, among them: Deformaciones for
digital tape or CD or Yamaha SY77 Synthesizer and Cakewalk sequencer in 1993;
Interacciones Iniciales for digital tape or CD or Yamaha SY77 Synthesizer, Cubase
sequencer and WTF30 in 1996; Mutaciones Tímbricas "A" y "B" for digital tape or CD in
1997; Dimensiones Suspendidas, Mulchmus, Evo 3214, and Presidio (recorded live in
studio), all four pieces for digital tape or CD, in 1998; Esperalba and Intubici for CD in
2003.
Gilles Mercier lives in Lima and has been active in the electroacoustic music scene of Lima
since the late 80s.
Nilo Velarde Chong (born in 1964) is professor at the National Conservatory of Music and
the Orson Welles Institute in Lima.
He composed: Glissando 5 during the first electronic music workshop at the National
Conservatory of Music in Lima, in 1995; Místico, working with sound samples from the
human body, in 2001; and Clarinelec for processed clarinet and synthesizer in 2004.
Rafael Junchaya (born in Lima, 1965) composed Piedra del Q'osqo for tape in 1991;
Ccoyllurcha in 1993; In-vita in 2000; Madrigal in 2002; Die Erscheinung in 2003; and
Variantes Motímbricas for clarinet, trumpet and synthetic sounds.
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Renzo Filinich Orozco (born in 1978) has been very active composing with electroacoustic
media during the last years. His works are also known by the name of his project: Metástasis.
Some of his pieces are: axons, clasifonía 1, anisotropía, 12 minutos exactos, and poema
sonoro "vida", all of them dated 2003; and Imagenes sonoras sobre la carretera (Efecto
Doppler), Sensaciones, Altiplano, Vida Artificial, Psicodelia Vocal, Sequenza X, and Noise,
What Is Noise? all of them 2004.
There are also works involving electroacoustic technologies and techniques by Jaime Oliver
(e.g. Silbadores), Edgardo Plasencia and Jorge Villavicencio Grossmann. Closer to the
electronic music scene are composers like Carlos Vásquez, active also in multimedia artistic
activities with DACP (Desarrollo Artístico Cultural Peruano).
6.17 Puerto Rico
The Catálogo de Música Clásica Contemporánea de Puerto Rico by Degláns and Pabón
Roca, published in 1989 in Puerto Rico by Pro-Arte Contemporáneo, includes several pieces
using electroacoustic media composed by Héctor Campos Parsi (born in Ponce, 1922; died
in Puerto Rico, 1998). Nevertheless, the information provided had been controversial when
checked with other Puerto Rican colleagues.
Among other works by Campos Parsi, that catalog mentions: Spectra for tape, 1956; En el
principio la noche era serana, incidental music on tape, 1960; El Inciso, incidental musique
concrète on tape, 1962; Kollagia for orchestra and tape, 1967-1969; Arawak for tape, El
casorio, incidental music for tape, and El hombre terrible del 87, incidental music for guitar,
mandolin and tape, all three 1970; De Diego, a work for pre-recorded voices and electronic
effects on tape, 1974; Poema Total for mixed choir and electronic sounds on tape, 1975; and
Las Troyanas, incidental music for an indigenous group and tape, 1984. Puerto Rican
composers R. Aponte Ledée and C. Vázquez mentioned that Campos Parsi started to
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experiment recording sounds from an electronic organ on tape (clusters) without further
manipulation around the early 70s.
Rafael Aponte Ledée (born in Guayama, 1938) was among the composers studying and
composing at CLAEM, in Buenos Aires. He was there during the 1965-1966 period.
Among other works Aponte Ledée composed: Presagio de pájaros muertos for actor and tape
in 1966, realized at CLAEM; Estravagario. In Memoriam Salvador Allende for orchestra and
tape in 1973; Cuídense de los ángeles que caen for tape, and Los huevos de Pandora for
clarinet and tape, both in 1974.
Luis Manuel Alvarez (born in Puerto Rico, 1939) composed, among other pieces: La
Creación, for orchestra and tape, in 1974; El Guerrero for piano and tape, Los Duendes for
tape, Vida Campesina for synthesizer, guitar, cuatro and percussion, and La calle. Poemario
de Dalia Nieves for narrator, synthesizer, guitar, cuatro and percussion, all four works in
1975. In 1982 Alvarez composed Desde adentro for soprano, piano and tape, being the tape
part realized at the Electronic Music Laboratory of the University of Puerto Rico.
Francis Schwartz (born in Texas, United States, 1940) grew up in his native land and
studied music in the United States and France. From 1971 until 1980 he was the Chairman of
the University of Puerto Rico's Music Department, where he established the first Electronic
Music Laboratory and a Workshop for Experimental Music.
Schwartz has an important catalog of compositions including music for tape only, mixed
pieces for instruments and tape, and multimedia works. Some of them are: Auschwitz, for
tape, aromas, lights, dancer, temperature manipulation and slides, 1968; Triangular Study, for
trumpet, harp and tape, 1971; Yo protesto, for orchestra and tape, 1974; Time, Sound and the
Hooded Man for actors, tape and videotape, Dolor de Muelas for voice and tape, and
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Caligula, versions for tape, and piano and tape, all three 1975; Hommage a K…. for one
soloist, tape and aromas, 1978; Musique pour Juvisy for tape, videotape and synth,
collaboration with C. Miereanu, and Mon Oeuf, polyartistic creation including video, aromas,
electronic sounds, temperature manipulation and special architecture, both pieces 1979; Ergo
sum, for flute and tape, 1980; Grimaces for chamber ensemble, tape and participting public,
1984; Aires Granadinos, versions for electronics only, piano and tape, voice and tape, and
violin and tape, 1995; and Tongues (or Lenguas), 1998.
Esther Alejandro (born in New York, 1947) studied composition and musical education at
the Conservatory of Music of Puerto Rico. She composed, among other pieces: Hecatombe,
concrète music, in 1978; Quietud for synthesizer in 1985; and Choteo for voice and
synthesizer.
Carlos Vázquez (born in Mayagüez, 1952) is a very active and prolific composer that has
been teaching and working extensively with electroacoustic media in his music. He is
Professor at the University of Puerto Rico (UPR), and since 1978 Director of its Electronic
Music Laboratory, now re-named as Centro de Tecnología Aplicada a la Música (Center for
Music Applied Technology).
Vázquez has been Musical Director of three international symposiums: the first, second an
third Muestra Internacional de Música Electroacústica (International Electroacoustic Music
Exhibition) held in Puerto Rico in 1992, 1995 and 1999.
Some of his pieces are: ¡Ñoño, los coños no son moños! for tape, and Sobre la inmiscusión
for tape, both 1975; Falafel for percussion, tape and live electronics, 1979; La Cara de un
Angelito for chorus and tape, 1980; Alborada isleña for tape and computer, 1982; Caballo de
Palo for soprano, percussion and tape, 1985; Mágicas Antillas for tape, 1991; Juracán for
live electronics, 1992; El Encanto de la Noche Tropical I: El Yunque for tape, 1993; Los
Ciclos de Luisa for tape, dancer and slides, 1994; Cantos de Alborada for piano, double bass
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and electronic sounds, 1995; Saxofonía for sax and tape, 1996; Mascarada for soprano, tape
and images, Variaciones On Line for CD, and the multimedia work Un Boricua en Madrid,
all 1999; Tzintzuntzan for bass clarinet, marimba, violin, double bass, recorded electronic
sounds, live electronics and images, 2001; Esa medalla me quema en el pecho… for tape,
2000; Los jardines de la noche for marimba and tape, 2002; and Aquel Album, 2003.
Falafel, La Cara de un Angelito, Alborada isleña, Caballo de Palo, Juracán, Los Ciclos de
Luisa, Cantos de Alborada, and Tzintzuntzan, were all realized at the electronic music lab of
the University of Puerto Rico.
José Montalvo (born in Mayagüez, 1951) composed Cuatro Estudios for oboe and
synthesizer in 1983. He lives at present in the United States.
William Ortiz Alvarado was born in Puerto Rico (Salinas, 1947), but grew up in New York
City. Among other works, he composed: Marcos for cassette tape in 1975; Composición
electrónica for tape in 1978; and Síntesis for guitar and tape, 124 E. 107th St. for percussion,
tape and narrator, and 3 Estudios para Computadora for tape, all of them in 1979.
Roberto Sierra (born in Vega Baja, 1953) composed Entre terceras for 2 synthesizers and
computer in 1988.
Raymond Torres Santos (born in Río Piedras, 1958) composed several computer music
studies on tape bertween 1982 and 1983, and also: Allí donde se bifurcan los senderos for
live electronics, Enchanted Islands for piano and tape, and Vestigios Mágicos for tape, all
three pieces in 1984; Otoao for tape, realized at UCLA Electronic Music Studio in California,
United States, and Areytos: A Symphonic Picture for orchestra and computer generated
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sounds on tape, both in 1985; and Presagios Celestiales for live synthesizers, drum machine
and computer in 1988.
6.18 Uruguay
Héctor Tosar (born in Montevideo, 1923; died in the same city, 2002) was one of the big
names of contemporary music in Uruguay. His extensive catalog includes several pieces for
synthesizer, among them: Moto perpetuo, 1983; La Gran Flauta, Música Festiva and
Homenaje a Debussy, all three 1988; and Voces y Viento, 1989.
León Biriotti (born in Montevideo, 1929), oboist, conductor and prolific composer of
instrumental music, composed some works using electroacoustic media. Among them: En la
morada de la muerte for tape in 1970; Metamorfosis según Kafka for oboe and piano, or oboe
and tape, in 1974; Prelude à l’aprés-midi d’un dinosaure for oboe and live electronics in
1988; Pulsars for Yamaha WX11 MIDI wind controller and WT11 tone generator in 1989;
Furioso for oboe and live electronics, collaboration with Ricardo Dal Farra, and Self-Portrait
with Family for one performer playing oboe, multiple instruments and live electronics, both
in 1991; Self-Portrait, for oboe and live electronics in 1994.
When using electroacoustic media in his presentations, Biriotti also likes to perform with a
MIDI wind-controller.
The last piece composed by Luis Campodónico (born in 1931; died in Paris, 1973), El
misterio del hombre solo, seems to be the first time sounds recorded on tape were included
together with live acoustic instruments on a musical piece in Uruguay. For this scenic work
based on loneliness, madness and death Campodónico used acoustic instruments, singers,
actors, mimes, dancers, lights, metronome and also a tape with a recorded text. Nevertheless
there was not electroacoustic processing on the recorded speech sounds.
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This work by Luis Campodónico was premiered during 1961 at SODRE, Montevideo. From
1961 until his death he left composition and turned to literature. Campodónico lived in Paris
from 1956 to 1961 and again from 1964 until his death in 1973.
Antonio Mastrogiovanni (born in Montevideo, 1936) composed in 1970 Secuencial II for

tape at CLAEM, Buenos Aires, where it was premiered the same year. In 1972 he composed
De Cobres for two French horns, trumpet, trombone and electronics, including two stereo
tape recorders, microphones, mixer as well as a high-pass and low-pass filter. The following
year he composed Cuauhtémoc for tape and voices, working in Mexico at Laboratorio de
Música Electrónica del Taller de Composición del Conservatorio Nacional de Música. In
1975 he composed Aulos for three live oboes or one live and two pre-recorded oboes. León
Biriotti premiered this piece in Córdoba, Argentina, during 1976, playing the three oboes.
Renée Pietrafesa (born in Montevideo, 1938) is active as composer, pianist, organist and
conductor.
She composed, among other works: A los olvidados for tape, and Sugerencias for soprano,
guitar, piano and tape, both in 1972; Nuestro tiempo, X, Y y entonces Z and Meditación, all
three pieces for tape in 1973; Attente, Canto para curar enfermos (En homenaje a los indios
huitcholes), Con pies y sin cabeza and Danza de los pájaros pintados y asombrados, all four
tape pieces in 1974; Helicoidal, París no and Viaje de Quetzalcóatl a Mitlan, all three pieces
for tape in 1975; Musique flasch, París evasión, París l’autre, Tamboriles and Cuatro
estructuras para cinta magnética, all pieces for tape, in 1976; Altos de cobre, Cosas
chichimecas, En el zoo, Estructuras I, Estructuras II, Estructuras III, Estructuras IV and
Tango y texto, all eight tape pieces in 1977; Estudios para piano preparado y cinta
magnética, for prepared piano and tape, also in 1977; Contemplación y sueño for piano and
synthesizer, De l’ortogonal à la courbe for tape, Existamos aquí for piano, tape recorder and
audience, and Naissance dans la caverne solaire, all four pieces in 1978; Crucifixión, o
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bebederos de palomas for tape in 1979; Prometeo for dancers, slides and tape, Fantasías
para cinta magnética for tape, and Canto for oboe and tape, all three in 1980; Mushuc
Huaira Huacamujum between 1981 and 1982; Integración 7 (religiosa o del más acá) for
voice, 4 performers and tape in 1984, tape part realized at the composer’ studio; and Beauté
magique for soprano, flute, oboe, clarinet, French horn, sax, trumpet, trombone, two violins,
cello, double bass, tympanis, gong, tape and synthesizer in 1989, based on the text 18
(Découverte de l’Inconnu) from Cantos de Maldoror by Isidore Ducasse, Conde de
Lautréamont.
Coriún Aharonián (born in Montevideo, 1940) has been composing with electroacoustic
media since the 60s. He is a well-known teacher, writer and promoter of new music, and was
also one of the main forces behind the Cursos Latinoamericanos de Musica Contemporanea
(Latin American Contemporary Music Courses) mentioned above.
Aharonián composed his first electroacoustic work in Montevideo during 1960 for the theatre
piece Inspezione by Ugo Betti; then in 1962 he composed electroacoustic music for a short
film by José Carlos Alvarez and José Pedro Boggiani; from 1963 to 1966 he was composing
music for several theatre pieces using electroacoustic media (La fuente del arcángel in 1963;
Suddenly last Summer in 1964; Le tuer sans gages in 1965; Water 2000 in 1966. During 1966
he also composed Hecho 2 (en tres partes y en re), a musical theatre piece for prepared piano,
xylophonic claves, sine and square wave electronic generators, tubular bell, 4 idiophones
and/or membranophones, 6 tape recorders, and paint brushes. Then in 1967 Aharonián
composed Música para aluminios, for three instrumentalists and tape, being the tape part
realized at studio 21 of SODRE radio station in Montevideo.
During 1969 he was in Buenos Aires studying at CLAEM and composed Que, for tape, at its
Electronic Music Lab. During 1971 produced two short studies at GRM in Paris, France.
Then in 1974 he composed Gran tiempo and Homenaje a la flecha clavada en el pecho de
Don Juan Díaz de Solís, both for tape, at the Charybde studio of the Groupe de musique
expérimentale de Bourges (GMEB).
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¡Salvad los niños! 1976, and Esos silencios, 1978 (revised 1981), were composed working at
ELAC, pequeño estudio de Montevideo, according to Aharonián “a small and modest
cooperative studio” (Aharonián, C. 2003. Personal communication).
Then, in 1984, Aharonián composed Apruebo el sol at EMS (Elektronmusikstudion) in

Stockholm, Sweden; and in 1995 Secas las pilas de todos los timbres for tape, realized at the
Studio für Elektroakustische Musik of the Akademie der Künste in Berlin, Germany.
Aharonián also composed music for theatre using electroacoustic media, like: Rhynoceros in
1975; Chaika and La trastienda, both in 1977; Sacco y Vanzetti in 1983; Las ranas in 1991;
and Molière in 1998.
He lives in Montevideo.
Sergio Cervetti (born in Dolores, 1940) moved to the United States in 1962, spent some time
in Europe a few years later and lived in New York, where he composed most of his electronic
music works, from the 70s to the late 90s. He has been living in Pennsylvania since 1998.
Cervetti composed several pieces using electroacoustic media: Studies in Silence, a taped
version of modified piano and voices in 1968; Oulom for tape, in 1970; Grafitti for orchestra,
spoken choir and tape in 1971; Raga III for tape, in 1971; Bits & pieces and Moving Parts for
tape in 1977 (the tapes of all those works were realized at the Columbia-Princeton Electronic
Music Center). Then he composed El río de los pájaros pintados for bandoneón and tape, and
Stella Vindemiatrix, produced using a Synclavier synthesizer, both in 1979, and Something
Borrowed, Something Blue... for tape between 1979 and 1980, all three tapes realized at the
University of Victoria Electronic Studio, in British Columbia, Canada. Since then Cervetti
realized his compositons with electroacoustic media working at his personal studio; some of
them are: Diminished Landscape, 1984; Transatlantic Light and The Hay Wain (El Carro de
Heno) for tape, used by Oliver Stone in his 1994 film Natural Born Killers, both pieces 1987;
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Inez de Castro, ballet music, 1988; Inventory, 1990; Pornography, music for the film by Tom
D'Iesso Rift, and Fields of Grace, both 1991; Quest for tape, 1993; The Guardians for tape
and Alignements, both 2001.
Ariel Martinez (born in San José, 1940) has been living in Argentina for many years.
He composed several works involving electroacoustic media during the 70s, among them: El
glotón de Pepperland for tape, realized at CLAEM in Buenos Aires, and Nosotros y ellos for
flute, oboe, clarinet, violin, viola, violoncello and electroacoustic processing, both in 1970;
Cabotaje IIIa (En medio) for tape, and Tromboffolón I for trombone, tuba and tape, both in
1971; Cabotaje IIIb for flute and tape, between 1971 and 1972; Cabotaje IIIc for 3 flutes and
tape, between 1971 and 1976; and Tromboffolón II for trumpet, French horn, trombone and
tape, between 1971 and 1978.
Cabotaje IIIa was the last piece produced in the electronic music lab at CLAEM, during
December of 1971.
Conrado Silva (born in Montevideo, 1940) became interested in new music during the 50s
and was studying in Germany between 1962 and 1964. He composed in 1964 Musik für Zehn
Kofferradiogeräte (Music for ten portable radios or Música para 10 radios portátiles), using
a computer to organize the compositional material for this piece.
Silva lives in Brazil since 1969, where he is Associate Professor at the Music Department in
the University of Brasilia. He has been a major force on the development of electroacoustic
music in Latin America, not only for his compositional and teaching activities but also
because of the aforementioned Cursos Latinoamericanos de Música Contemporánea (Latin-
American Courses for Contemporary Music) he created, which were landmarks of new music
in the region, and the several electronic music studios he founded in Brazil: Brasilia
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University, 1969; University of Sao Paulo State, 1977; Santa Marcelina Arts School, 1985;
Syntesis, 1986.
Some electroacoustic works by Silva are: Antígona, an electroacoustic incidental piece for
theatre, 1965, realized at the studios of SODRE radio station; Brinquedos I (Crónica),
electroacoustic incidental music, 1971; Cor incurvatum, electroacoustic incidental music,
1972; Ulisses, electroacoustic incidental music, and Celebraçao for 4 mixed choirs and
synthesizer, both 1973; Equus, suite, electroacoustic incidental music, dated 1975, for the
homonymous play by P. Schaeffer; Polaris for voice, flute, guitar, piano, double bass and
synthesizer, and the electroacoustic piece Natal del-Rei, both 1980; Fonoarticulações for
voice, tape and live synthesizer, based on sound materials by Dieter Schnebel, 1980; Mars for
live electronics , Para Sinthy, ritual for synthesizer, and Círculo Mágico Ritual for 20
synthesizers, all three pieces 1985; Ludus absque fasciem for live electronics, and Eixos I for
symphonic orchestra and synthesizer, both 1986; Ganis for live electronics, 1987; Pericón for
live digital instruments, 1988; Galaxias II electroacoustic piece, 1991; the opera Espaços
Habitados for female voice, actor and live digital equipment, 1994, based on texts from the
book Galaxias by Haroldo de Campos; Fragmentos do Apocalipse, 2001, and Fragmentos do
Gênesis, 2002, both electroacoustic pieces realized at Estúdio de Música Eletroacústica da
Universidade de Brasília; and Antenas de Miramar, multimedia piece, 2005.
Silva has been Vice-President of ICMA, the International Computer Music Association.
Beatriz Lockhart (born in Montevideo, 1944) composed Ejercicio I for tape during 1970 in
Buenos Aires.
Carlos da Silveira (born in Montevideo, 1950) composed Así nomás in 1977.

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Leo Maslíah (born in Montevideo, 1954) composed, among other works: La Construcción in
1979, a piece based on a text by Kafka, and realized with two cassette tape recorders; Llanto
in 1980, realized at ELAC studio in Montevideo; Radio Huesca in 1992; Tiruriru between
1992 and 1993; Africa tuya in 1993; Rigor vitae, curriculum mortis and Eccétera, both in
1995; all pieces for tape.
Fernando Condon (born in Montevideo, 1955) composed Suiana Wanka between 1981 and
1982 and En familia in 1988.
Daniel Maggiolo (born in Montevideo, 1956; died in Montevideo, 2004) was since 1988 the
Director of eMe, the Estudio de Música Electroacústica (Electroacoustic Music Studio) at the
Universitary School of Music sited in Montevideo; and since 2000 Director of the Escuela
Universitaria de Música (Universitary School of Music).
Most of Maggiolo’s electroacoustic music works are for tape only: sólo que desde adentro,
1977; habrá que ver, 1978; esos laberintos, tan nuestros, 1980; y en eso te vi, tan perdida,
1989; en el hecho mismo de la passion, 1991; nuestra magia cotidiana, 1992; adormecido
por el aire del atlántico [... se van, no vuelven más...], 1989-1995; de los vientres, de las más,
1997; afuera el aire es tan sólo otra illusion, 1991-1998.
Dated 1999 is a pesar de todos los naufragios, mixed piece for percussion and tape; and
dated 2000-2001 por si acaso fuera cierto, for female voice and electroacoustic sounds,
based on poems by Fernando Beramendi and Oliverio Girondo.
Eduardo Paz Carlson (born in 1958) is a prolific composer that created numerous works
using electroacoustic media.
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He composed: la batalla desesperada between 1976 and 2003; Así nomás in 1977;
congelados, los pies del sol 1, plaza de comidas and infinidad de productos, all four pieces
between 1977 and 2003; hotel de paso between 1978 and 2002; visión 2 between 1991 and
1996; spiritu sanctus in corde 2 between 1991 and 2002; and saturnina between 1995 and
2003; among many other works
Paz Carlson wrote about himself and his music:
First of all, I believe that an artist must remain silent. The less he talks about himself
and his work the better. What is important is the listener, the observer, the reader.
They are the ones who must talk, analyze and as a last resort, create the work […]
It is difficult to date correctly each piece because all were composed in segments of
works done in different times (between 1977 and 2004). I cannot affirm that all my
"electroacoustic musika” work is really "electroacoustic" well… the reason is
because I don’t have a very clear vision of what electroacoustic music really is. It can
be said that I "descend" from Varese, Stockhausen, Eno, Fripp, Canas […]
By writing MUSIKA with a K expresses that I don’t consider myself a real musician,
or as how the academy considers the status of a musician. However, do I compose
electroacoustic music? Maybe yes, I don’t know […]
There are all sorts of transfigured sounds. In the majority of my works I make a
mixture of every different sound which I have at hand at the moment […]
Paz Carlson, E. (2004) Eduardo Paz Carlson [online]. Address: http://retiary.net/idea/

idea7/idea_7/eduardo/eduardo.htm
Luis Jure (born Montevideo, 1960) is professor at eMe, the Estudio de Música
Electroacústica de la Escuela Universitaria de Música (Electroacoustic Music Studio of the
Universitary School of Music) since 1999. He composed Takanimba. A night in Soweto in
1988 (revised in 1991), Eyeless in Gaza in 1992 and mar de fondo in 1999 (revised 2001), all
of them electroacoustic works for tape.
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Pablo Sotuyo (born in Montevideo, 1963) composed among other pieces: Sonorización for
live digital synthesizer (Yamaha DX7) in 1989; El Canto del Caracol, electroacoustic ballet,
in 1991; MIDI Buffer Full No.1 for two MIDI pianos and computer, and Aleph for computer,
both in 1996; Estudio sobre Physical Modelling for computer (working with Csound), and
Bereshit 1.1 for electronic media, both in 1997; Bereshit 1.2 for electronic media in 1998;
Bereshit 1.3 for electronic media in 1999; Quem é você? and Marinas, both for electronic
media; and Meditações de Thessalus for oboe and electronic media, all three works in 2000;
Ambienta2001 for electronic media, O Homem das Massas for chorus and electronic media,
Dominica in Palmis for organ and electronic media, and Feria Secunda Majoris Hebdomadae
for tenor, guitar, glockenspiel and electronic media, all four pieces in 2001; Dominica
Resurrectionis for voices, guitar, organ, small orchestra and electronic media in 2002.
Pablo Sotuyo lives in Brazil.
Many other composers have been using electroacoustic media in their music. Carlos
Pellegrino composed its electroacoustic pieces: Sin in 1974, and Voci silenti and Trovatura,
both in 1979. Marino Rivero (born in Tacuarembó) composed Juegos extraños in 1977, tape
realized at the School of Arts of New York University, and Impresiones de Toledo between
1986 and 1988, both works for bandoneon and tape. Fernando Ulivi composed Estudio
sobre un cuento corto de Felisberto Hernández, electroacoustic piece dated 1982.
There are also works involving electroacoustic media by Alejandro Barbot, Jorge
Camiruaga, Leonardo Croatto, Ernesto Donas, Ulises Ferretti (born in Florida, 1953),
Jaime Kuckierwar, Diego Legrand, and Alberto Macadar, to name but a few.
6.19 Venezuela
Alberto Grau (born in 1937) composed Epílogo for tape in 1981.

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Alfredo del Mónaco (born in Caracas, 1938), one of the big names on the contemporary
music scene of Venezuela.
After composing Cromofonías I during 1966-1967, and Estudio electrónico I during 1967-
1968, del Mónaco moved to New York to study and compose at the Columbia-Princeton
Electronic Music Center from 1969 to 1974. There he composed Metagrama for tape in
1969-1970, and Estudio electrónico II, also for tape, in 1970. Metagrama is based on the
manipulation of the voice of Venezuelan choreographer-dancer Sonia Sanoja; she read the
poem by Alfredo Silva Estrada used to compose the piece. In 1970 del Mónaco created also
Tres Ambientes Coreográficos para Sonia Sanoja, joining two sonic atmospheres to
Metagrama. About that three-parts choreographic piece the composer explained:
Uno de ellos es un fondo sonoro plano con total libertad sobre el cual ella podia
construir, el segundo tambien era otro fondo sonoro plano con un sonido blanco que
se disuelve y regresa con distinto color, muy libre, un fondo sonoro para que ella
pudiera hacer todo lo que quisiera, y el tercero era Metagrama, de modo que
quedaban los tres ambientes juntos.
One of them is a flat sonic background with total freedom on which she was able to
build [dance], the second was also another flat sonic background with a white sound
that dissolves and returns with different color, very free, a sonic background so that
she could do everything what she wanted, and third was Metagrama, hence the three
sonic atmospheres were together. [RDF free translation]
Del Mónaco, A. (2003). On Tres Ambientes Coreográficos para Sonia Sanoja.

[interview by RDF].
Later del Mónaco composed Alternancias for violin, viol, cello, piano and electronic sounds
on tape, and Dualismos, for flute, clarinet, trombone piano and electronic sounds on tape,
both in 1971; Syntagma (A) for trombone and electronic sounds on tape, between 1971 and
1972; Trópicos for tape in 1972; and Estudio electrónico III, also for tape, in 1974. The
composer completed in 1974 his Doctoral Thesis based on that last electronic music work.
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Del Mónaco made his first experience on computer music working with an IBM 360
(“…those were the punched cards’ days”, he remembers), finishing a sinewave-based work
on December 25 of 1971: Synus 12/25/1971, for tape. For him that “was a test … and no
more” (del Mónaco, A. 2003. On Synus 12/25/1971. Interview by RDF).
Years later he came back to the electroacoustic world composing Lyrika for oboe with
electronic extensions ad libitum, in 1992. This work can be performed as an oboe solo or
oboe plus tape piece. The mixed version uses a prerecorded tape (made by the performer)
with background multiphonics played very softly (pppp) from around the second part until
almost the end of the composition.
Alfredo del Mónaco lives in Caracas, Venezuela.
Federico Ruíz (born in Caracas, 1948) composed among other pieces: Actualidades for three
narrators and tape in 1982; La factoría celeste in 1984 and Aproximación a Bach in 1985,
both for electronic sounds; Rebelión de compases for mezzo-soprano, synthesizer and multi-
effects processor, with texts by Manuel Feo-La Cruz, in 1988; and Stabat Mater for mezzo-
soprano, flute, oboe, double bass, synthesizer and electronic processing, in 1989.
Alfredo Rugeles (born in Washington D.C., 1949), composer and conductor, studied music
at Escuela Juan Manuel Olivares in Caracas and later at the Robert Schumann Institute in
Düsseldorf, Germany. During more than 10 years he has been directing the Festival
Latinoamericano de Música, a major event in the Latin American new music scene.
Rugeles composed among other works: Thingsphonia for tape in 1978; Hace veinte años in
1988; and Oración para Clamar por los Oprimidos for voice, flute, oboe, harp, double bass
and synthesizers in 1989.
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Rugeles lives in Venezuela.
Josefina Benedetti (born in New Haven, Connecticut, United States, 1953) composed La
Muerte del Delfín for tape and slides in 1994. She lives in Venezuela.
Alfredo Marcano (born in Maracaibo, 1953) composed Trio for flute, oboe and electronics
in 1989; and Y fue Seragua for percussion and pre-recorded sounds.
Alvaro Cordero (born in Barquisimeto, 1954) composed Deambulando for harp and
electronic processing in 1988; and Un pájaro for tape in 1990.
Victor Varela (born in Caracas, 1955) composed Procesador I for tape in 1986; Praeludium
I for oboe, live electronics and tape in 1988; Omaggio a Cortázar for mezzo-soprano and
computer in 1993; and Logarítmica for one percussion player and tape in 1994. He lives in
Sweden.
Ricardo Teruel (born in Caracas, 1956), composer, electronic engineer and piano, English
concertina and homemade instruments performer, started to teach electronic music at the
Instituto de Fonología of Centro Simón Bolívar in Caracas in 1983, and is the Director of the
Electronic Music Lab there since 1988. He is also Professor of Composition and Electronic
Music at IUDEM - Instituto Universitario de Estudios Musicales (Universitary Institute of
Musical Studies), where he began to teach in 1990.
Among other works Teruel composed: Nuestra cultura vegeta for tape, realized at the
Instituto de Fonología of Simón Bolivar Center in 1976; Hojas de olvido for electronic
sounds on tape, realized at his personal home studio with an ARP 2600 analog synthesizer
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and two cassette recorders in 1981; Pobre música electrónica pobre for recorded voices
simulating electronic sounds and theatrical actions, and A ver si nos entendemos for piano
and electronic sounds on tape, both in 1983; Glooskap y Lindú, recorded narration with
electronic sounds, Un minuto de silencio por favor (o ni en sueños) for recorded electronic
sounds, and Um-um-é-hum-ah for electronic soun ds on tape, all three pieces in
1984 ; Orquestada No.7: La Gran Aldea for symphonic orchestra and electronic sounds
on tape in 1 985; Huellas de Voces Perdidas, 12 pieces for Roland JX-3P
synthesizer, with PG200, La Cacería del NHOC for electronic sounds on tape, and
Suave, suave, fluye suave; fluye, fluye, sua ve fluye for four hands piano and
electronic sounds on tape, all three works in 1986; Piés-ligeros for electro nic
soun ds on tape, and Pájaro bobo, also for electron ic sound s on tap e, both pieces in
1987 ; Estacionaria for B flat clarinet and electronic sounds on tape (or tape
only), El Macromicrobio for double bass and electron ic sounds on tap e (or tape
only), A la luz del encanto for oboe and electronic sound s on tape (or tape only),
Cuentas Claras for symphonic band and two optional synthesizers, Archivos for one to five
keyboard synthesizers and programmable electronic drum machine, and Llamadas for B
flat trumpet and electronic sounds o n tape (or tape only), all six pieces in 1988;
Santuario for voice, flute, double bass, keyboard synthesizer, programmable percussion and
reverb, Expectativa for two synthesizers or two pianos, programmable percussion and
symphonic orchestra (being played also as the first movement of Concierto de las Tres
Esferas), Triángulo Mágico for two synthesizers and symphonic orchestra, collaboration with
Beatriz Bilbao (being played also as the third movement of Concierto de las Tres Esferas),
and Polvo y cenizas for reciter processed voice and electronic sounds on tape (o r tape
only), all four works in 1989; 3 Piezas para Liralata y sonidos electrónicos grabados
for seven strings liralata (homemade instrument) and electronic sounds on tape in 1996;
Perceptiva 1 for electronic sounds on tape in 1998; Energías Liberadas for sound objects and
recorded sounds, and Trances for different instruments and recorded electronic sounds
(Trance 1: Fuego for tenor English concertina and recorded electronic sounds; Trance 2:
Tierra for rustic home made m’bira -sansa, kalimba- and recorded electronic sounds; Trance
3: Agua for tenor English concertina and recorded electronic sounds; Trance 4: Aire for
home made campanelli cortinero -curtain-rod campanelli or glockenspiel- and recorded
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electronic sounds), both in 1999; and Grabados, a group of pieces for English concertina
and/or home made instruments and recorded sounds, in development since 2000.
Gustavo Matamoros (born in Caracas, 1957) composed extensively using electroacoustic

media. His creations include mixed pieces, compositions for tape, performances, installations,
radiophonic works and multimedia shows.
Among other pieces Matamoros composed: Cervatana Music for flute and live processing in
1982; 142857 for tape in 1986; Truly Yours for xylophone and tape in 1987; Con el dedo en
el timbre, multimedia work involving one reed instrument (or a MIDI wind controller), one
string instrument, one percussion instrument, dancer, video, lights and tape, in 1990; To the
Victims… for snare drum and tape, Sin Ninguna Imperfección… for up to eight instruments
and tape, In Memory of Gentle Giant II, and Auto-Retrato for live electronics with video, all
four pieces in 1991; Heavy Metal for amplified music stand and tape, and 37, for instance, or
36, to John Cage for string orchestra and tape, both in1992; Una Guitarra…Toca Sola for
live electronics and text, and Dreamcatcher for string quintet, vocoder and tape, both in
1993; Music On A Budget, and five short pieces: Variations on a Shoe String for amplified
pencil and shoe string, Sound Consumption for amplified burning match, More for Less, or
Time is Money for as many musicians as possible, Pocket Change for amplified loose coins,
and Cheaper Imitation: Stars & Strips Forever More for electronically processed tape, also in
1993; Ventanas de Contacto for amplified double bass and gated tape in 1994; RE: TdM(are),
for Anthony deMare for piano, voice, gates and tape, and Private Thoughts/Public Forum for
3 readers, gates and 3 channels of tape, both in 1995; Piano, ma non tango for piano, gate
and tape, and Mapa/Memoria for 6 channels of sound, gates, microphones and dancer, both
in 1996; Trump(s) Car(d) for brass quintet, drum set, gates and tape in 1997; Sing and Follow
the Leider for voice, musical saw, gated tape in 1998; Fishtank: Music BorderLine and
F”ishtank: B(ey)ON'K(ey) West, two evening-long pieces constructed by the overlapping of
several unrelated sound and video pieces, both also in 1998; In my Mind as I Work for gated
saw and wooden plank in 2000; Electra for five channel gated soundscape for play, An Old
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Shoe… for saw and tape, and Sounds Gathered for any number of participants recorded, all
three works in 2001; and FTNK GTR: Evidence No 1 for gated Fishtank GTR in 2003.
He has been composing also a series of Portraits (Retratos) working with sound materials
coming from the same portrayed people; some of them are: Retrato: Flores Chaviano for
guitar and tape, and Retrato: Joseph Celli for oboe and tape, both 1990; Retrato: Bob
Gregory for reader and tape, 1990; Retrato: Luis Gómez-Imbert for doublebass and tape, and
Retrato: Ricardo Dal Farra for tape and real time processing, both 1992.
Some of his Sound Paintings on Tape are: Sound Painting with Dreams and Spirits, a 15-
minute loop, 1997; Sound Painting with Piano, a ten-minute loop, 1998; and Sound Painting
with Harp and Gongs, an eight-minute loop, 1999. Among his radiophonic works are: La
Pieza/NMA-Miami Version, 1988; Tracing the Radio Landscape and Preparing The Air To
Let The Rhythm Be Heard And Help The City With Its Dancing, both 1992.
About his installations, some of them are: R con R, with Fred Snitzer, a collaborative
installation incorporating toy trains & sound, 1989; Ferrocarril, with Fred Snitzer, a
collaborative installation incorporating computer-controlled toy trains & sound, 1990; Hold
On!!!, sound installation, 1991; The Garden, with Kate Rawlinson and Diane Dawes, a
collaborative installation incorporating sound, painting & sculpture, 1992; The Ear of the
Beholder, an interactive mixed-media sound sculpture, 1993; An Interaction of Ideas, an
installation of sound and computer images, with Tom Schmitt, a collaborative installation,
1994; Field, with Larry Cressman, a collaborative installation incorporating sticks, glass,
custom multiple speaker system & sound, 1994; ¿METAPHOR?, sound installation, 1995;
Fishtank GTR, a four gate triggering instrument for improvisation, and William Tells of
Rights, recorded text broadcast through a snare drum, both 1997; Dreams & Spirits, an
outdoor sound installation that consists of sounds captured with the aid of antennae, 2000;
Dreams Gathered, encoded dreams of North Miamians set free as projected images and
broadcast sounds using two window sites at opposite sides of 125 street, 2001; Symbiosis by
Osmosis, four channel sound installation planted in a garden, idling bus sounds from the
nearby bus stop, 2002; and Breezeway, six speaker sound model of public art project, 2003.
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Matamoros lives in the United States. He is the Artistic Director of the Subtropics New
Music Festival held in Miami each year since 1989, and also founding director of the Sound
Arts Workshop since 1996.
Fernando Freitez Gassán (born in Barquisimeto, 1958), composer, guitar and cuatro
venezolano performer, and electronic engineer, studied electroacoustic music with Ricardo
Teruel during the 80s. He was recording engineer for the Lara’ Symphonic Orchestra and
Professor of Electroacoustics at CONSERMUS - Regional Conservatory of Music Jacinto
Lara.
Some of Freitez electroacoustic music works, composed mainly during his studies with
Teruel, are: Estudio No. 1 and Tarde con Chicharras, both pieces for electronic sounds,
created in 1987, and produced using ARP 2500 and 2600 synthesizers; Seis por izquierdo for
cuatro venezolano and electronic sounds, 1988; El Maromero, La persistencia de la memoria,
Sombras móviles and Mambo del gallinero, all four piece for electronic sounds, also 1988,
and produced with the ARP 2500 and 2600 synthesizers from the Instituto de Fonología; La
caja de sorpresas, 1989, a work for tape based on sound recordings taken from a music box;
El duende de las cuevas for Flamenco guitar and sound recordings from different editions of
Flamenco music.
At present Freitez Gassán is Professor of Electroacoustics at Vicente Emilio Sojo

Conservatory in the city of Barquisimeto, Venezuela.
Adina Izarra (born in Caracas, 1959), composer and educator, studied at the National
Conservatory of Music Juan José Landaeta in Caracas, and later at York University, England,
where she obtained her PhD in Composition.
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She composed, among other pieces: Tapices for tape in 1985; Merenguitos for two
percussionists and tape in 1987; 8ritornello8 for live synthesizers and Vojm for amplified
vojm (female voice), both in 1988; Luvina for bass flute and delay in 1992; and De Visée for
theorbo and laptop, realized at LADIM, Caracas, in 2004.
In Vojm the singer uses three microphones, one going through a delay line, another one going
through a digital reverb chamber set to its maximum reverb time, and the third one is to be
used ad libitum, just for ambience, according to room acoustics.
Arcángel Castillo Olivari (born in Mérida, 1959) composed Chaos Metamorphosis in 1997,
and EverybodyDrinksMerlot in 1999, both computer music works; Save Twilight, computer
music on CD based on poems from Salvo el Crepúsculo by Julio Cortázar, in 2000; and
Soleando for violin and multimedia (real time sound processing with a computer, and DVD
combining video, photography and computer graphics) in 2002.
About Save Twilight, the composer explains: “This work is like a poetic reading with
electronic music, trying to emphasize Cortázar’s poems.” (Castillo Olivari, undated. Personal
communication).
Julio D'Escrivan (born in Caripito, Monagas, 1960) composed Salto Mortal for tape in
1989; and Sin ti por el alma adentro for flute and tape in 1987.
Jacky Schreiber (born in Caracas, 1961) composed Seseribo for electroacoustic sounds on
tape in 1983; Questions to myself...and someone else for electroacoustic sounds on tape in
1985; Peace of the worlds for percussion and electroacoustic sounds on tape in 1986; When
the firemen arrive...everything will be over... for flute, baritone sax and electroacoustic
sounds on tape in 1988; Luna en Tralfamadore for vibraphone, marimba and synthesizer in
1989; El Baile de los Gigantes for harp and electroacoustic sounds on tape in 1990; Feedback
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series for synthesizer and video camera, between 1992 and 1994; In a point of the spiral for
electroacoustic sounds on tape in 1992; Far beyond the rain for solo sampler in 1993;
UnmundodentrodeunmundO for processed voice and electroacoustic sounds on tape in 1994;
Oh...Impotencia for solo synthesizer in 1995; Crystal Ball for electroacoustic sounds on tape
in 2000; Uncertainty principle, also for electroacoustic sounds on tape, in 2001; Principio de
incertidumbre in 2002, my dog’s birthday party in 2003; and if we ever meet again and
broken time, both in 2004. He also composed music for films, television and multimedia
shows.
Diana Arismendi (born in Caracas, 1962) composed, among other works: Parábolas for tape
in 1980; Cientocincuenta Días, also for tape, in 1981; and Irreverencias for oboe and tape.
Alonso Toro (born in Caracas, 1963) composed among other works: No me perdonan in
1995.
Carlos Suarez (born in Caracas, 1966) composed Sagrarios sonoros for ethnic instruments and
tape in 1995; Revelaciones para el tiempo que transcurre for prepared piano and tape in 1996;
Sobre la opacidad del mal for keyboard and tape in 1997; El templo de los augurios for
indigenous instruments and tape, and Los arquetipos de la trinidad femenina for organ and tape,
both in 1998; Manifestaciones extáticas del pensamiento for solo tape, and El misterio de los
animales brujos for several ethnic instruments and tape, both in 1999; El ojo de Juyá for solo
tape in 2001; Horror vacui for string quartet and tape in 2002.
Rodrigo Segnini-Sequera (born in Caracas, 1968) studied electronic music, piano and
musicology in Venezuela; then he focused on audio digital signal processing (spectral and
physical models) at CCRMA, Stanford University, in the United States; and later he moved
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to Japan to work at DeOS-Electronic Music Studio, Tokyo National University of Fine Arts
and Music, for some years.
Among other pieces he composed: Maratsade for tape in 1992; Pekuek for synthesizer and
electronics in 1994; Pekuek II for tape in 1994-1995; MPCSSCVEV {Imp-loro}, portable
music for computer, synthesizer, sampler, wind controller and live performer based on
fantastic situations in Caracas in 1995; Madriz for CD-ROM, special concert version for two
channel tape, in 1995-1996; Pamine for piano and four channel tape in 1996-1997; and
Geidai for eight channel tape, in 1999-2000.
Segnini wrote in 1994 for his graduation at the Escuela de Artes, Facultad de Humanidades y
Educación, Universidad Central de Venezuela (Arts School of the Central University of
Venezuela): Comprender la música electroacústica y su expresión en Venezuela (To
understand electroacoustic music and his expression in Venezuela).
Musikautomatika, a group of experimental music with Stefano Gramitto, Luis Levin,

Mirella Lopez (replaced by Gabriela Gamboa around 1989) and Alvise Sacchi (born in
Bergamo, Italy, 1947), has been working in Venezuela with electroacoustic media for many
years. Also Psyclosonika, a group derived from Musikautomatika, without Mirella Lopez
and Gabriela Gamboa, and with Jacky Schreiber replacing Stefano Gramitto.
Many other Venezuelan composers have been using electroacoustic media in their music.
Beatriz Bilbao composed Abbys II for synthesizer and drum machine, 1988; Los ojos de
Picasso for voice, flute, double bass and polyphonic synthesizer, 1989; and Triángulo
Mágico for two synthesizers and symphonic orchestra, collaboration with Ricardo Teruel,
1989. Roberto Cedeño composed Arimka for clarinet and sy nthesizer, 1991. Roberto
Chacón composed Máscaras for tape, 1984, and Polvo de Estrellas for percussion and
electronic p rocessin g, 1991. Juan de Dios López composed El Triunfo de las Llamas
for flute, oboe, double bass and electronics, 1989; Al borde del abismo for double bass and
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electronic sounds, 1990; and Gravedad Cero for vibraphone and electronic processing in
1991. Leonidas D'Santiago composed El pájaro de madera, 1986, and Pieza para clarinete
y cinta, 1991. Ricardo Lorenz Abreu composed Tres miniaturas for flute and tape, 1988.
Servio Tulio Marin composed Impresiones fugitives, 1976, and Retour au silence, 1985; he
was living in the United States for several years and is now in Europe. Emilio Mendoza
composed La siesta for tape, 1983. Miguel Noya composed Bajo la sombra del mundo for
double bass, tape and electronic processing, 1993. Fidel Rodríguez Legendre composed
Doble operativo for vibraphone and video tape, 1995. Alexander Romero composed Día de
la Creación for actress and live electronics, 2005. Juan Francisco Sans (born in Caracas,
1960) composed Lasciate mi morire for oboe and electronic processing. Edgar Saume (born
in Caracas) composed Secuencias Ritmicas for percussion and tape. Adrián Suárez Pérez
composed La piel de Petare for actress, tape and electronic processing in 1995. Numa
Tortolero composed Retorno, 1983, Sugestión, 1984, and Situación de la Ciud ad, 19 86,
all three wo rks for tape.
CHAPTER VII
TRENDS IN MUSIC COMPOSITION INVOLVING ELECTROACOUSTIC MEDIA
7.1 Styles16
This chapter presents a selection of works by several Latin American composers showing a
diversity of compositional styles and techniques. Full scores or excerpts are used so as to
convey the composers’ creative approaches. There is a wide variety among the included
musical samples.
The first piece, Complejo No.2 by Virgilio Tosco, has an open approach using a fully graphic
notation score. It is a good example of the experimental style used by composers from Centro
de Música Experimental in Cordoba, Argentina, during the mid 60s. That group used to work
a lot with unusual instrumentations and improvisation.
Mexican composer Manuel Enriquez also uses graphic notation in his work for violin and
tape, Móvil II or Viols, but accompanied by a detailed description of the symbols he adopted
for it. This piece was originally composed in 1969 for a string soloist. Only later was the tape
part added, realized in 1972 at the Columbia-Princeton Electronic Music Center in New
York. In this piece, like in many other works, the studio (its equipment, and above all, the
people working there) had an important influence on the adopted production techniques as
well as on the style of the electronic tape part.
16
In the context of this doctoral thesis, style is considered the distinctive or characteristic manner in
which the elements of music are treated. In practice, the term may be applied to, for example,
composers, media, nations, or form or type of composition (adapted from MENC, The National
Association for Music Education (undated) Glossary. Address: http://www.menc.org/publication/
books/performance_standards/glossary.html).
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Flor de Sancayo for piano and tape, composed by Peruvian Edgar Valcárcel in 1976, has a
flexible formal structure allowing a combinatorial approach and offering to the performer
ample freedom. The score shows notes in musical staffs but arranged in non-traditional ways.
It has no written guidelines accompanying it.
Far from improvisation or aleatoric procedures, Venezuelan composer Alfredo del Mónaco’s
Alternancias for violin, viola, cello, piano and electronic sounds on tape asks for a highly
synchronized performance between the acoustic instruments themselves and the electronic
tape part. The work was realized in 1971 at the Columbia-Princeton Electronic Music Center.
The Center, where Argentinean composer Mario Davidovsky was working since the early 60s
and was its Director from 1980 to 1994, had a strong influence on several Latin American
composers who had the opportunity to study and compose there. Davidovsky, well known by
his acclaimed Synchronisms mixed series, is a symbol of the Center’s style during those
years.
Something different, nor fully serial or aleatoric can be perceived in Peruvian César Bolaños
pieces from the 60s, when he was composing music for tape, mixed chamber works, and also
large and complex multimedia pieces. Interpolaciones for electric guitar and four channels
tape from 1966, Alfa-Omega for two narrators, theatrical mixed choir, electric guitar, double
bass, 2 percussionists, two dancers, magnetic tape, projections and lights from 1967, and his
computer-assisted composition from 1970, Canción sin palabras (ESEPCO II), for piano
with two performers and tape, are examples of his work.
Ecuadorian composer Milton Estevez composed several pieces for orchestra and tape during
the mid 80s. In Apuntes con Refrán the Ecuadorian composer uses a flexible approach,
mixing fully notated parts with controlled improvisation. The electronic sounds on tape were
created using FM techniques on a digital synthesizer.
The scores and excerpts in the following section depict both the diversity in terms of
compositional trends and the variety of notation styles.
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7.2 Score examples
The following scores by composers from different Latin American countries show different
approaches in terms of instrumentation, techniques and styles.
• Complejo No.2 by Virgilio Tosco (Argentina)
Complejo No.2 for recorders, piano, percussion (including cracking aluminum plates, rubbed
bronze discs, wood and metal elements) and electronically generated white noise was
composed in 1965 by Virgilio Tosco (born in Achiras, province of Córdoba, 1930; died in
Córdoba City, 2000)
Figure 8. Virgilio Tosco’s Complejo No.2 for recorders, piano, percussion and electronically
generated white noise, composed in 1965.
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The symbols are explained in the lower part of the score: madera = wood; metal; ruido blanco
= white noise; platillo frotado = rubbed cymbal; cuerdas piano frotadas = rubbed piano
strings; golpe sobre cuerdas piano = knock on piano strings; flauta = flute (in this case:
recorder).
The notation is extremely open. Except for a few notes indicated for the flute, there are no
pitches. No tempo and metrics indications either. Only a basic grid is used to suggest time
relationships, and eventually synchronize some events.
The graphics for each instrument are mixed in the score. According to the widow of the
composer, who sent me also the copy of the score included above, these are the only
indications she was able to found corresponding to this piece:
Cada instrumento tiene su simbología particular. Aunque los instrumentos estén

mezclados en la partitura, hay líneas que indican su continuidad. La intensidad está
dada por el tamaño de los signos; un poco a la derecha de la mitad se encuentra el
climax, donde confluyen todos los instrumentos.
Each instrument has its own symbols. Even if the instruments look mixed in the
score, there are lines showing its continuity. Sign’s size indicate intensity, a little bit
from the center to the right is the climax, where all instruments meet. [RDF free
translation]
Formiga de Tosco, L. (2003). Complejo No. 2 [epigraph]. Email subject: Musica

Electroacustica. Argentina.
These kinds of open and experimental works were usual among the composers and
performers founders of Centro de Música Experimental created in 1965. Affiliated to the
National University of Córdoba, Argentina, the Center’s group was integrated by Oscar
Bazán (born in Cruz del Eje, 1936), Pedro Echarte, Carlos Ferpozzi (born in Córdoba, 1937),
Graciela Castillo (born in Córdoba, 1940), Virgilio Tosco, and, for a certain length of time,
Horacio Vaggione (born in Córdoba, 1943).
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An excerpt of this score was used for the cover of the book La Notación de la Música
Contemporánea by Ana María Locatelli de Pérgamo (Buenos Aires: Ricordi, 1975).
Complejo No. 2 was premiered during the Primeras Jornadas de Música Experimental held in
Córdoba during 1966.
• Móvil II / Viols by Manuel Enriquez (Mexico)
Móvil II, by Mexican composer Manuel Enriquez (born in Ocotlán, Jalisco, 1926; died in
Mexico City, 1994) has three different versions according to the score: one for a string
instrument only, a second one for amplified violin and optional processing, and another one
for violin and tape. The name of the piece changes for Viols when is performed in its version
for violin and tape.
Móvil II was composed for any string instrument (in fact, for any orchestral bowed string
instrument: violin, viola, cello, double bass), and asks for a special tuning on it:
- first string, 3/4 of tone lower
- second string, 1/4 of tone higher
- third string, 1/4 of tone lower
- fourth string, 1 and 1/4 of tone lower
There are no traditionally notated pitches in the score. Musical events appear organized in
different segments, sometimes framed by a geometrical figure (rectangle, triangle, circle,
etc.). The composer explains:
The space between horizontal lines means the whole register of the instrument, the
sounds must be produced under a visual impression; in the circle and triangle
segments the sound material is still more indetermined and must be played with the
maximum of phantasy. The total organization is “at random” and the whole length
between 6 and 8 minutes.
Enriquez, M. (1969-1976). Móvil II [score]. Mexico.

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Figure 9. Manuel Enriquez’s Móvil II or Viols for violin and tape, composed 1969-1972.
Explanation of score’ symbols.
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Figure 10. Manuel Enriquez’s Móvil II or Viols for violin and tape.
Graphic score.
The original piece for string instrument was composed in 1969. Enriquez completed his a
new version for violin and tape in 1972, creating the tape part with electronic sounds at the
Columbia-Princeton Electronic Music center in New York.
The score and related materials were provided by Susana Enriquez Alfaro, the composers’
widow.
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• Flor de Sancayo by Edgar Valcárcel (Peru)
Flor de Sancayo (a.k.a. Retablo I) for piano and tape, composed in 1976 by Edgar Valcárcel,
shows an open style of notation, mixing a traditional approach for pitches with graphical
structures that organize different groups of seven sequences in circular, triangular and other
geometrical forms.
There are no additional indications for the performance with the tape part. The electronic
sounds on tape created at the Electronic Music Studio of McGill University, in Canada, are
organized in three cues or parts, to be played with the musical material corresponding to the
three different pages of the score. These three electronic parts are 3:15, 2:34 and 2:32 minutes
long.
Figure 11. Edgar Valcárcel’s Flor de Sancayo for piano and tape, composed in 1976.
Score: page 1.
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Figure 12. Edgar Valcárcel’s Flor de Sancayo for piano and tape. Score: page 2.
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Page 4 shows possible performance combinations of sections and subsections from A, B, C

(corresponding to pages 1, 2 and 3 of the score) resulting in examples like: A-B-C, A-C-B, C-
B-A, B-A-C, B-C-A, C-A-B and CA-AB-CB, BA-BC-AC, among other possibilities.
The score was provided by the composer and the recording by alcides lanza, Director
Emeritus of the Electronic Music Studio of McGill University, with the former’s permission.
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• Alternancias by Alfredo del Mónaco (Venezuela)
Alternancias, for violin, viola, cello, piano and electronic sounds on tape was composed by
Alfredo del Mónaco in 1971. The tape part was realized at the Columbia-Princeton Electronic
Music Center.
In Alternancias del Mónaco hasn’t asked for special tuning of the bowed string instruments.
He uses special signs when quarter tones are needed.
All the score is precisely notated looking for a synchronized performance between the
acoustic instruments themselves and the tape part. The tempo is indicated using traditional
musical notation (q = 60) or graphically, using the distance between bars (1 cm = 1 second).
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Figure 15. Alfredo del Mónaco’s Alternancias for violin, viola, cello, paino and electronic
sounds on tape, composed in 1971. Explanation of score’ symbols.
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sounds on tape. Score’s excerpt: page 1.
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330
331
• Canción sin palabras or ESEPCO-II by César Bolaños (Peru)
Canción sin palabras, also known as ESEPCO-II, was composed by César Bolaños in 1970
working in collaboration with mathematician Mauricio Milchberg.
Bolaños and Milchberg were experimenting with computers to organize compositional

structures. ESEPCO is the generic name they used in their works composed with the aid of
computers. ESEPCO stands for “estructura sonoro-expresiva por computación” (computer
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sound-expressive structure). Sialoecibi (ESEPCO-I) for piano and one reciter-mime-actor and
Canción sin palabras (ESEPCO-II), subtitled Homenaje a las palabras no pronunciadas, for
piano with two performers and tape, are two works representative from this stage.
Honeywell Bull and later Olivetti Argentina were supporting Bolaños and Milchberg
experiences carried out in Buenos Aires.
Figure 20. César Bolaños’ Canción sin palabras (ESEPCO-II) for piano and tape,
collaboration with Mauricio Milchberg, composed in 1970. Score’s excerpt: initial minutes.
The score has indications for the performers to play in the keyboard, directly on the strings or
even knocking around in different parts of the piano. It has also indications for the magnetic
tape part. Not mentioned in the instrumentation, the score also reveals the use of an electronic
impulse generator in the piece.
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• Apuntes con Refrán by Milton Estevez (Ecuador)
Ecuadorian Milton Estevez composed several pieces for orchestra and electronics during the
80s. For Apuntes con Refrán, a piece from 1987, he created the electronic part in his home
studio using a Yamaha DX7 FM synthesizer, a digital sequencer and a Revox B77 open reel
tape recorder. The excerpts from the score included below shows an open style allowing
controlled improvisation mixed with fully notated parts.
This is a sketch of a “multiple solo” for acoustical and electroacoustical instruments.

It contains some “rough” materials (since they are ideas to evolve in the “multiple
solo”) as well as some free exploratory approaches to other composing devices.
Within the first category, a short event plays the role of refrain. The individual
quality of its solo lines, as they are played simultaneously, is dissolved within a large
texture, which becomes characteristic, very bright and is some way aggressive […]
The refrain interventions assume different shapes. Some of them (e.g. the first one)
are immediately dissolved and in some way developed through multiple and open
repetitive evolution procedures. Others appeal to counterpoint variation devices.
In the refrain and the tutti interventions, the principal device is the vertical texture
and its shape, each time renewed by open construction and performance. In the
alternate passages (based on modal materials from Ecuadorean music), on the
contrary, line movement becomes conspicuous.
The electroacoustical texture, constructed with the same material of the acoustic
texture, uses both structural ways, but color variation is added in order to modify
each appearance. The same electronic event of the introduction takes place at several
reprises, each time modified through most of the work, alternating also with the solo
acoustical interventions. In addition to the acoustical solo lines, except in the
introduction, the electroacoustical texture plays a subordinate role in its relationship
with the global mixed texture, alternating or superimposing by analogy or contrast.

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Figure 21. Milton Estevez’s Apuntes con Refrán for orchestra and tape, composed in 1987.
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Figure 22. Milton Estevez’s Apuntes con Refrán for orchestra and tape.
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Móvil II (Viols), Alternancias and Apuntes con Refrán are available for listening online
(Internet) at the Daniel Langlois Foundation for Art, Science, and Technology web site17.
Those works as well as Flor de Sancayo (Retablo I) and ESEPCO-II (Canción sin palabras)
are also available for listening at the Centre for Research and Documentation (Intranet) of the
same Foundation.
A composer’ selection of (17 from 61) pages from Apuntes con Refrán as well as full-length
scores from Manuel Enriquez’s Móvil II (Viols), Alfredo del Mónaco’s Alternancias, César
Bolaños’ Interpolaciones for electric guitar and tape from 1966, alcides lanza’s interferences
III [1983-IV] for chamber ensemble and computer generated sounds from 1983, Jônatas
Manzolli’s Névoas e Cristais for vibraphone and computer from 1995, and Edson
Zampronha’s Mármore for tuba and electroacoustic sounds from 2001, are also available
online at the Foundation’s web site18.
17
http://www.fondation-langlois.org/flash/e/index.php?NumPage=556
18
http://www.fondation-langlois.org/flash/e/stage.php?NumPage=556
CHAPTER VIII
MUSIC-RELATED TECHNOLOGY AND SCIENCE RESEARCH
8.1 Technology innovators. Early developments
An aspect strongly connected to the development of a musical practice using electronic media
is that of the available technologies to support it.
During the early years of electroacoustic music creation in Latin America there were not
favorable or easy conditions in most countries. Different from today, the access to highly
flexible and powerful recording technologies as well as to professional systems for the
electronic generation and processing of audio signals was extremely limited or inexistent in
most places.
Many composers were working with tape techniques using home tape recorders, recording
any kind of acoustic sounds in order to edit those samples later applying the usual techniques:
cut and splice, speed change, tape direction, and loops. Electronic generating and modifying
equipment was very rare and it was usually available only in electronic music studios, where
composers shared those resources, or in radio stations or scientific research labs.
However, there were exceptional cases worth considering and the following paragraphs are
focused on some of them.
In 1942, Juan Blanco (born in Mariel, 1919) registered the description and design of a new
musical instrument at the Patent and Trademark Office in Cuba. He called his creation the
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Multiórgano (Multiorgan), and it was based on 12 magnetophonic wire loops running through
a playback head (recording on magnetic tape was being used in Germany at that time but not
in America yet!) Being a polyphonic instrument, the Multiorgan could be loaded with 12
chromatically recorded voices, musical instruments or other sounds, including any
multitimbral combinations and limited only by the allowed number of loops. Each sound
signal would be controlled by a keyboard switching its flow to the amplifier. One pedal
changed the sound amplitude, and another one modified its frequency/duration, varying loop
speeds. The Multiorgan concept predated the Mellotron by several years, but the original
instrument invented by Blanco was never built. In 1991, during the Musical Inventions and
Creations: Denial of Utopia, an International Symposium held in Bourges, France, Blanco
presented a blueprint of the original design.
In Chile, during 1957 Juan Vicente Asuar (born in Santiago, 1933) proposed to write his
civil engineering thesis on Generación Mecánica y Electrónica del Sonido Musical
(Mechanic and Electronic Generation of Musical Sounds). Then, in 1958, he started building
the first Electronic Music Studio of Chile at the Catholic University, which was ready in
1959.
Asuar was helping to develop several electronic music studios in different countries during
the 60s, including Germany and Venezuela.
Since 1969 he has become interested in the possibilities of using computers in music and he
created some works using an IBM360 in 1970 and again in 1972.
In 1978 Asuar started his own computer music studio based on what he called COMDASUAR
or Computador Musical Digital Analógico Asuar. The COMDASUAR was using a
microcomputer to generate square waves in real time that later were processed by analog
means. The system was able to produce six voices simultaneously. The software he wrote for
the system was able to generate basic control signals allowing the composer to produce his
own scores (including data interpolation, pitch transposition, etc.) but also providing more
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complex operations like: pitch and duration transmutation, canon, retrograde, and probability,
among other functions.
An engineer interested both in electronics and music, Raúl Pavón (born in Mexico City,
1930) began to promote the use of electronic musical instruments in Mexico years before the
first studio was built there in 1970. In 1958, he built the prototype of a loop-based musical
instrument using magnetic tape recordings without knowing this principle was already in use.
Then, in 1960, he built a small electronic musical instrument that featured an oscillator with
multiple waveform outputs, a variety of filters, an envelope generator, a white noise
generator and a keyboard, among other modules. Pavón named the instrument the Omnifón
(meaning: all sounds), and it was among the first electronic sound synthesizers ever built.
Figure 23. Analog synthesizer developed by Raúl Pavón during the early 60s in Mexico.
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Pavón was the technical director of the first Electronic Music Lab in Mexico, created as part
of the Composition Workshop at the National Conservatory of Music. With Héctor Quintanar
as its artistic director, the laboratory launched activities in January 1970 with equipment that
included Buchla and Moog synthesizers.
Figure 24. The first electronic music lab in Mexico opened in 1970.
Years later, Pavón wrote one of the first books in Spanish about electronic music: La
Electrónica en la Música … y en el Arte (Electronics in Music…and the Arts), which was
published in 1981 by CENIDIM. In the book, he wrote about the acoustics, history,
technology and techniques of electroacoustic music as well as about new media arts.
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Figure 25. Cover of the book La Electrónica en la Música … y en el Arte by Raúl Pavón.
Pavón also developed the Icofón, an oscilloscope-based system that derived images from
sounds (working with Lissajous figures). He used this system to create several multimedia
works.
In Argentina, Fernando von Reichenbach (born in Buenos Aires, 1931; died in the same
city, 2005) played a major role in technological development during the CLAEM/Di Tella
Institute days in the mid 60s.
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Figure 26. The Electronic Music Lab at CLAEM during the late 60s, after Fernando von
Reichenbach redesigned it. Photo by César Bolaños.
2005 © The Daniel Langlois Foundation for Art, Science, and Technology.
He invented the Convertidor Gráfico Analógico (Analog Graphic Converter), also known as
Catalina, used to convert graphic scores from a paper roll into electronic control signals
adapted for musical uses with analog instruments, capturing the original drawing images with
a camera.
Figure 27. The Analog Graphic Converter developed by von Reichenbach during the 60s.
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Reichenbach había construido Catalina, o sea el Convertidor Analógico Gráfico, que

era una banda de papel en la que se dibujaba, una cámara de television que leía la
banda de papel, y un generador de las tensiones que controlaban a un módulo Moog
que era el generador de audio, controlado por la tensión que a su vez era controlada
por este aparato de Reichenbach.
Reichenbach had built Catalina, that is to say the Analog Graphic Converter, that was
a paper band in which it was drawn, a TV camera that read the paper band, and a
generator of the voltages that were controlling a Moog oscillator, which was the
audio generator, controlled by the voltage that was as well controlled by
Reichenbach’s apparatus. [RDF free translation]
Martinez, A. (2003). On the Analog Graphic Converter by Fernando von

Reichenbach. [interview by RDF].
The only VCO available at CLAEM to be controlled by the Analog Graphic Converter was a
Moog module borrowed from composer Nelly Moretto. It was a multi-waveform
monophonic oscillator. Therefore, any polyphonic texture needed to be realized by mixing
and remixing each line on analog (usually stereo) tape recorders.
Al no haber computadoras era necesario que de alguna manera se pudiesen dibujar

las alturas o las intensidades o ambas cosas al mismo tiempo; teníamos dos canales
de dibujo […]
[A través de los dibujos era possible controlar] …el oscilador, el modulador y el

filtro.
Having no computers, it was necessary to find some way to draw the pitch or the
intensity or both at the same time; we had two channels for drawing […]
[With drawings it was possible to control] …the oscillator, the modulator, and the
filter. [RDF free translation]
von Reichenbach, F. (2003). On the Analog Graphic Converter. [interview by RDF].
The first tape piece created using the Converter was Analogías Paraboloides by Pedro
Caryevschi, composed in 1970. José Ramón Maranzano and Eduardo Kusnir also composed
tape pieces with the Converter that same year.
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[Caryevschi] Planteó un trabajo como racional que era la realización de un módulo

paraboloide, esto es, a la manera de Xenakis, líneas que en forma parabólica van
generando un modulo que primero se abre y luego se cierra. Eso construido con 64
sinusoides grabadas de a una y montadas en cinta.
He [Caryevschi] proposed to realize a rational piece, that was the accomplishment of

a paraboloid module, that is to say, following Xenakis’ style, lines which in parabolic
form are generating a module that gradually opens and then it closes. That was done
with 64 sine waves recorded one by one and assembled on tape. [RDF free
translation]
Martinez, A. (2003). On the creation of Analogías Paraboloides by Pedro Caryevschi

[interview by RDF].
Figure 28. Sonogram of Analogías Paraboloides by Pedro Caryevschi, a 1970 tape piece
created using the Analog Graphic Converter developed by von Reichenbach. (excerpt
analyzed from minute 2:00 to 3:00).
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During those years, von Reichenbach also created devices such as the keyboard-controlled
polyphonic third/octave and octave filter, and a special patch-bay that helped solve the
complex needs of composers at the lab.
Usually using low-tech he was working behind the scene to solve the technical needs of
composers who were experimenting at Di Tella Institute. An example of this is the switch
pedal board he developed for Interpolaciones, a 1966 piece for guitar and tape by Peruvian
composer César Bolaños, to allow the performer a live control of sound distribution around
the audience.
Fernando von Reichenbach was also involved with the technical development of several
multimedia shows in Buenos Aires. Around 1960, before CLAEM started its activities, he
was working to put on one of the first large multimedia shows of Argentina, the Shell
Pavilion.
It is worth mentioning the experiences of Peruvian composer César Bolaños (born in Lima,
1931) with the mathematician Mauricio Milchberg in Buenos Aires during the late 70s,
when they were experimenting with computers to organize compositional materials. Those
works led to the creation of two pieces: Sialoecibi (ESEPCO I) for piano and one reciter-
mime-actor and Canción sin palabras (ESEPCO II) for piano with two performers and tape,
both from 1970. Milchberg wrote about those experiences:
Lo que sí es claro, es que sólo traté de ser un complemento del trabajo del
compositor, que es quien tomaba las decisiones en última instancia. Usando técnicas
de cálculo dentro de lo que se solía llamar, muy exagerada y pomposamente,
inteligencia artificial. No se generaban sonidos, sino estructuras - la intención era
escribir "partituras" […] y complementos, como la generación de los textos leídos.
It was clear that I was only trying to be a complement of the composer, who was
really taking the decisions. Working with calculus techniques from what used to be
called, very overestimated, artificial intelligence. We were not using the computers to
generate sounds but structures - the idea was to write “scores” […] and complements,
like the generation of some texts read during the pieces. [RDF free translation]
Milchberg, C. (2005). Email subject: Cinta de César Bolaños. France.

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Most of the technology innovators and researchers previously mentioned were also
composers. References about their musical production using electroacoustic media can be
found in chapters V and VI, searching in their respective countries (e.g. Juan Blanco: Cuba;
José Vicente Asuar: Chile; Raúl Pavón: Mexico; César Bolaños: Peru).
8.2 Recent research
After the pioneering years represented in the previous section by Blanco, von Reichenbach,
Pavón and a few other researchers and composers, is hard to find stable technology research
related to music until recent years. An exception is the work by Aluízio Arcela (born in João
Pessoa, Paraíba, 1948) in Brazil.
Arcela's research started in 1975 at the Electrical Engineering Department of the Pontifical
Catholic University of Rio de Janeiro. In 1977 he presented his thesis Dynamic Spectra-
Generating System for the Synthesis of Musical Signals in which he explained a system
combining digital and analog technologies for producing frequency spectra within the range
of human perception.
In 1983 Arcela was invited to join the University of Brasilia where he started a program in
computing. In order to accept, he asked the University for a laboratory to do research in
computer music. A short time later he founded the Laboratório de Processamento Espectral
(Spectral Processing Lab) at that University.
Also at the University of Brasilia, in 1989 Arcela created the Master’s in Computer Music,
the first University-level computer music course in South America.
Arcela developed software for sound synthesis, algorithmic musical composition and
computer image generation based on musical intervals. An example is Som-A, his
programming language for additive sound synthesis.
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Some research papers by Arcela written between 1978 and 2002 are available on Internet19.
Several Brazilian composers/researchers have devoted part of their energies to create

computer music applications, among them: Rodolfo Caesar (born in Rio de Janeiro, 1950)
and Gilberto Carvalho (born in 1952). Caesar developed some MIDI-based software for
electroacoustic music composition: Copacabana and Perfil. And Carvalho, in collaboration
with Hudson Lacerda, developed MUSAS (Musical Space Analyzer and Synthesizer) a
software tool for musical analysis and composition that works with two main approaches: the
creation of musical spaces and their analysis by the pitch-class set theory.
During the last decade is noticeable the activity developed in music technology and new
media by several Brazilian researchers, all of them born in the 60s. Fernando Iazzetta,
Fábio Kon and Jônatas Manzolli have been working mostly in Brazil, and Eduardo ‘Reck’
Miranda and Marcelo Mortensen Wanderley out of their mother country.
Most of those researchers have been also active as composers. References about their musical
production using electroacoustic media can be found in chapter V, searching in the Brazil
section. The same is valid for researchers from other countries also named in this chapter; the
information about their musical production should be searched in sections corresponding to
their countries of birth (e.g. Emiliano Causa, Argentina; Roberto Morales-Manzanares,
Mexico; Juan Reyes, Colombia).
Fernando Iazzetta (born in Sao Paulo, 1966) teaches Electroacoustic Music at the Music
Department of the University of Sao Paulo, where he coordinates LAMI - Laboratório de
Acústica Musical e Informática (Computer and Musical Acoustics Laboratory) and is a
Research Associate at the Graduate Program on Communication and Semiotics at PUC-SP.
19
http://www.cic.unb.br/docentes/arcela/lcmm/textos/artigos.html
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His research is directed towards the study of new forms of music technology and music
interaction. He developed: GenComp, a graphic environment for creation and representation
of music based on genetic algorithms, and with Fabio Kon: MaxAnnealing, a tool for
algorithmic composition based on simulated annealing.
Iazzetta is author of the book Música: Processo e Dinâmica (Music: Process and Dynamics)
published by AnnaBlume in 1993, and a number of articles, papers and technical
communications, among others: Um Novo Músico Chamado Usuário, published in the
procedings of I Simpósio Internacional de Computação e Música, held in Caxambú, Brazil,
1994; A Semiotic Approach to Music Interaction published in the proceedings of
International Computer Music Conference - ICMC95, held in Banff, Canada, 1995; Sons de
Silício: Corpos e Máquinas Fazendo Música, doctorate thesis, program of Semiotics and
Communication (Comunicação e Semiótica), PUC-SP; A Música, o Corpo e as Máquinas
published in Opus IV magazine, 1997; O Fonógrafo, o Computador e a Música na
Universidade Brasileira published in the proceedings of X Encontro Nacional da ANPPOM,
held in Goiânia, Brazil, 1997; Internet Music: Dream or (virtual) reality, collaboration with
Fabio Kon, published in the proceedings of V Simpósio Brasileiro de Computação e Música,
hekd in Belo Horizonte, Brazil, 1998; A Música Efêmera da Internet, collaboration with
Fabio Kon, published in the proceedings of XI Encontro Nacional da ANPPOM, held in
Campinas, Brazil, 1998; Material, Forma e Processo na Música Eletroacústica presented in
the VI Simpósio Brasileiro de Computação e Música, held in Rio de Janeiro, Brazil, 1999; La
música en Internet: un sueño o una realidad (virtual)?, collaboration with Fabio Kon,
published in Música y nuevas tecnologías - Perspectivas para el siglo XXI, Eduardo R.
Miranda (editor), Barcelona, Spain, by L'Angelot Editora, 1999; Meaning in Music Gesture,
in the ebook (CD-ROM) Trends in Gestural Control of Music, Marc Battier and Marcelo
Wanderley (editors), Paris-IRCAM - Centre Pompidou.
Iazzetta composed several mixed works as well as tape pieces. In Gérmen, an electronic piece
from 1996, he applied his software GenComp.
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Fábio Kon (born in São Paulo, 1969) has a bachelor degree in Percussion from Sao Paulo
State University and a PhD degree in Computer Science from the University of Illinois at
Urbana-Champaign, where he studied Algorithmic Composition with Prof. Heinrich Taube.
Kon is Professor at the Department of Computer Science at the University of Sao Paulo.
Some of Fábio Kon publications are: O Som do Futuro - Música, Computadores e Fractais,
published in Jornal da Tarde, São Paulo, Brazil, 1992; Música, Computadores e Fractais II,
Technical Report - IA/UNESP, 1992; A Detailed Description of MaxAnnealing, with
Fernando Iazzetta, Technical Report, Department of Computer Science - IME/USP, 1995;
Categorial Grammar and Harmonic Analysis, collaboration with Flavio Silva, published in
the proceedings of the Second Brazilian Symposium on Computer Music, held in Canela,
Brazil, 1995; Stylistic Musical Choices Via Fuzzy Preference Rules collaboration with Flavio
Silva, published in the proceedings of the Congress of the International Fuzzy Systems
Association, held in São Paulo, Brazil, 1995; A Música Efêmera da Internet, collaboration
with Fernando Iazzetta, published in the proceedings of the 11th Meeting of the National
Association of Research and Graduate Studies in Music (ANPOM'98), held in Campinas,
Brazil, 1998; Internet Music: Dream or (virtual) Reality, collaboration with Fernando
Iazzetta, published in the proceedings of the 5th Brazilian Symposium on Computer Music,
held in Belo Horizonte, Brazil, 1998; La música en Internet: un sueño o una realidad
(virtual)?, collaboration with Fernando Iazzetta, published in Música y nuevas tecnologías -
Perspectivas para el siglo XXI, Eduardo R. Miranda (editor), Barcelona, Spain, by L'Angelot
Editora, 1999; ACMUS: Design and Simulation of Musical Listening Environments,
collaboration with Fernando Iazzetta and Flavio Silva, publsihed in the proceedings of the 8th
Brazilian Symposium on Computer Music, held in Fortaleza, Brazil, 2001; Downloading
Musical Signs, collaboration with Fernando Iazzetta, European Journal for Semiotic Studies,
Vol. 13, No. 1-2, Vienna, Austria, 2001.
As it was mentioned before, Fábio Kon developed with Fernando Iazzetta: MaxAnnealing, a
tool for algorithmic composition based on simulated annealing. He is currently working on
applying the technology of mobile agents, developed in the late 90s, to create distributed
environments for music composition and performance through computer networks.
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Kon also composed some electroacoustic works, among them: Momentos I in 1994,
collaboration with Fernando Iazzetta, one result of Kon’s research project about The Use of
Fractal Geometry on Music Analysis and Composition.
Jônatas Manzolli (born in Olimpia, Sao Paulo, 1961), composer and mathematician, has
been working on the development of gesture interfaces, using sensors to relate body
movements to sound events, since the early 90s. He has been leader of the Computer Music
Research Group of NICS, Núcleo Interdisciplinar de Comunicação Sonora (Interdisciplinary
Nucleus of Sound Communication) at UNICAMP, since 1994. In 1996 Manzolli created the
Gesture Interface Laboratory (LIGA) at NICS “to study relationships between human
gestures, machines and sound, and to develop software and hardware for real time
composition/performance applications.” (Manzolli, 2004)
His research is focused on mathematical model applications of complex systems to music

composition and interactive systems. Two of his recent works are: the evolutionary
compositional system Vox Populi and the application of neuroinformatic technology in the
RoBoser project.
In Vox Populi: An Interactive Evolutionary System for Algorithmic Music Composition, paper
published in 2000, VOX POPULI is described in this way:
Musical composition can be seen as a framework to express human subjectivity in

symbolic and sub-symbolic terms. While recent techniques of digital sound synthesis
present a large number of new sounds at the musician’s desktop, several artificial
intelligence techniques have been applied to algorithmic composition. […] We
introduce Vox Populi, a system based on the Evolutionary Computation for
composing music in real time. A population of chords is properly codified according
to the MIDI protocol, and evolves by the application of genetic algorithms. Graphic
controls (pad and sliders) provide a friendly manipulation of the fitness and of the
sound attributes.
Evolutionary Computation is used to stimulate the user's sonic perception and to

which he responds. Associating the dynamic behaviour of genetic algorithms with
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tools for real time interaction, Vox Populi becomes a musical instrument. Differently
from a traditional one, Vox Populi is able to create its own sound raw material (chord
population) and to provide a choice-criteria (music fitness) simultaneously.
Moroni, A., Manzolli, J., Von Zuben, F. V., and Gudwin, R. (2000). Vox Populi: An
Interactive Evolutionary System for Algorithmic Music Composition. In Leonardo
Music Journal, v. 10, 49-54. United States: The MIT Press.
Manzolli developed the Roboser project with Dr. Paul Vercshure of the Institute of
Neuroinformatics in Zurich. The following paragraph gives a basic description of it:
This paper describes Roboser (http://www.roboser.com), an autonomous interactive

music composition system. The core of the system comprises two components: a
program for simulating large-scale neural networks, and an algorithmic composition
system. Both components operate in real-Time. Data from e.g. cameras, microphones
and pressure sensors enter the simulated neural system, which is also used to actively
control motor devices such as pan-tilt cameras and robots. The neural system relays
data representing its current operational state on to the algorithmic composition
system. The composition system in rum [sic] generates musical expressions of these
neural states within an a priori stylist framework. The result is a real-time system
controlled by a brain-like structure that behaves and interacts within a given
environment and expresses its internal states through music.
Wassermann, K. C., Blanchard, M., Bernardet, U., Manzolli, J., Verschure, P. (2000).
Roboser - An Autonomous Interactive Musical Composition System. In I. Zannos
(Ed.), Proceedings of the International Computer Music Conference (ICMC), 531-
534. United States: The International Computer Music Association.
Another recent research by Manzolli, about musical creation on the web, is introduced in this
abstract:
Our objective was to build a "Virtual Studio", an environment suited for creating
musical compositions, interactively, on the web. Starting from this point, we studied
the implementation of new computer based music instruments for distributed
performance on the Web, called here as DMIs. We took advantage of the recent
Java2 implementation to create a general model for developing interactive musical
performance among Internet users. The DMIs were used in interactive performances
where a MIDI Server receives several streams of MIDI data from several clients. In
this paper, we present and analyse the performance of two DMIs: the first one is
called "Rabisco" which allows the user to draw sound trajectories on the Web; the
second, called "Cordas", is a fretted-string instrument implemented using class
abstractions. In both examples, there is a heavy usage of Java Objected Oriented
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packages and they run in any browser supporting the current Java Virtual Machine
(JVM) across the Web.
Ramos, F. L., Manzolli, J., and Costa, M. O. (2003). Virtual Studio: Distributed
Musical Instruments on the Web. In Anais do XXIII Congresso da Sociedade
Brasileira de Computação, IX SBCM (Simpósio Brasileiro de Computação e
Música). Brazil: UNICAMP.
The RoBoser system was used to compose the soundscape of Ada: the intelligent space
presented at the World Expo 02 in Neuchatel, Switzerland.
Eduardo ‘Reck’ Miranda (born in Porto Alegre, 1963) is an active researcher and
composer. As researcher his main areas of work are: sound-based communication systems
(origins of intonation systems in languages; emotion in computer speech; automatic language
identification systems; robot communication), formerly developed at SONY Computer
Science Lab Paris; music and the brain (non-gestural music control using brainwaves;
neurocompatible interfaces; neural networks); music and artificial intelligence (sound design
systems; intelligent synthesizers; knowledge representation; symbolic machine learning),
formerly conducted at University of Edinburgh; and evolutionary music (granular synthesis;
algorithmic composition; origins of music), developed at Edinburgh Parallel Computing
Centre, Glasgow University and the SONY Computer Science Lab Paris.
Miranda published several books about music and new technologies20: Computer Sound
Synthesis for the Electronic Musician, Focal Press, Oxford, United Kingdom, 1998 (with
music software on the accompanying CD-ROM); Musica y nuevas tecnologias: Perspectivas
para el siglo XXI, L'Angelot, Barcelona, Spain, 1999; Readings in Music and Artificial
Intelligence, Harwood Academic Publishers, Amsterdam, The Netherlands, 2000; Composing
Music with Computers, Focal Press, 2001 (with music software on the accompanying CD-
ROM); and Computer Sound Design: Synthesis Techniques and Programming, also by Focal
20
Some research papers by Miranda are available on Internet at: http://neuromusic.soc.plymouth.ac.uk/
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Press, 2002 (also with music software on the accompanying CD-ROM). He is also co-author
with Marcelo Wanderley of a new book: New Digital Musical Instruments: Control and
Interaction beyond the Keyboard (working title) being published by A/R Editions.
Working at the Edinburgh Parallel Computing Centre (EPCC) Miranda developed

Chaosynth, “an innovative granular synthesis software that uses evolutionary computing
techniques for generating complex sound spectra” (Miranda, 2004).
Miranda lives at present in the U.K. where he is Head of Computer Music Research and
Reader in Artificial Intelligence & Music at the School of Computing, Communications and
Electronics of the University of Plymouth.
Marcelo Mortensen Wanderley (born in Curitiba, 1965) holds a degree on electrical

engineering from UFPR - Universidade Federal do Paraná, Brazil, a MSc from UFSC -
Universidade Federal de Santa Catarina, Brazil, on integrated analog circuit design, and a
PhD from the University Pierre et Marie Curie - Paris VI, France, on acoustics, signal
processing and computer science applied to music. As part of his PhD, Wanderley spent five
years at the Analysis-Synthesis Team at IRCAM (Institut de recherche et coordination
acoustique musique) in Paris, where he studied ways of designing new digital musical
instruments. His main research interests are directed towards “the development of human-
computer interaction (HCI) tools and metaphors in a musical context” focusing on the
“analysis of performer-instrument interaction with applications to gestural control of sound
synthesis.” (Wanderley, M. 2004).
Wanderley is co-editor, with Marc Battier, of Trends in Gestural Control of Music, an ebook
published by IRCAM with a collection of essays about different kinds of sensors and their
expressive use in devices to control electronic musical instruments.
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Some of his publications21: 3D Position Signals Acquisition System with Application to Real-
Time Processing published in the proceedings of ICSPAT'96, held in Boston, United States,
1996; Dance-Music Interface based on Ultrasound Sensors, published in the proceedings of
the III Brazilian Symposium on Computer Music held in Recife, Brazil, also in 1996; Non-
obvious Performer Gestures in Instrumental Music; in A. Braffort et al. (editors): Gesture-
Based Communication in Human-Computer Interaction, Springer Verlag, 1999; Contrôle
gestuel de la synthèse sonore, collaboration with Philippe Depalle, in H. Vinet and F.
Delalande (editors): Interfaces Homme-Machine et Création Musicale, Hermes Science
Publishing, 1999; Improving Instrumental Sound Synthesis by Modeling the Effect of
Performer Gestures, collaboration with Philippe Depalle and Olivier Warusfel, published in
the proceedings of the International Computer Music Conference - ICMC99 , held in Beijing,
China; Gestural Control of a Physical Model of a Bowed String Instrument, collaboration
with Stefania Serafin, Richard Dudas and Xavier Rodet, also published in the proceedings of
the International Computer Music Conference - ICMC99; Gesture-Music, collaboration with
Claude Cadoz, in the aforementioned Trends in Gestural Control of Music - Ircam - Centre
Pompidou, 2000; Towards a Model for Instrumental Mapping in Expert Musical Interaction,
collaboration with Andy Hunt and Ross Kirk, published in the proceedings of the
International Computer Music Conference - ICMC2000, held in Berlin, Germany; Gestural
Control of Music, published in the proceedings of the International Workshop Human
Supervision and Control in Engineering and Music held in Kassel, Germany - September
2001; Gestural Control at IRCAM, collaboration with Marie-Hélène Serra, Marc Battier and
Xavier Rodet, published in the proceedings of the International Computer Music Conference
- ICMC2001, held in Havana, Cuba - September 2001; The Importance of Parameter
Mapping in Electronic Instrument Design, collaboration with Andy Hunt and Matt Paradis,
published In Proceedings of the 2002 International Conference on New Interfaces for
Musical Expression (NIME-02), Dublin, Ireland, 2002; Quantitative Analysis of Non-
Obvious Performer Gestures, in I. Wachsmuth and T. Sowa (editors) Gesture and Sign
Language in Human-Computer Interaction, Springer Verlag, 2002; Evaluation of Input
Devices for Musical Expression: Borrowing Tools from HCI, collaboration with Nicola Orio,
21
Some research papers by Wanderley are available on Internet at:
http://recherche.ircam.fr/equipes/analyse-synthese/wanderle/articles.html
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published in Computer Music Journal, Vol 26 No. 3, 2002; Mapping Strategies for Real-time
Computer Music, guest editor, in Organised Sound Vol. 7, Number 2, 2002; Gestural Control
of Sound Synthesis, collaboration with Philippe Depalle, published in Proceedings of the
IEEE, vol. 92, No. 4, 2004. He is also co-author with Eduardo Miranda of a new book: New
Digital Musical Instruments: Control and Interaction beyond the Keyboard (working title)
being published by A/R Editions.
Marcelo Wanderley lives in Montreal, Canada. He is Assistant Professor and Music

Technology Area Chair at the Faculty of Music, McGill University.
Some other Brazilian researchers working in the computer music field are: Ignacio de
Campos, José Homero F. Cavalcanti, Regis Rossi Alves Faria, José Eduardo Fornari,
Anselmo Guerra de Almeida, Victor Lazzarini, Maurício Alves Loureiro, Mikhail Malt,
Artemis Moroni, Márcio da Costa Pereira Brandão, Geber Ramalho and Rosa Maria Vicari.
The Brazilian Symposium on Computer Music (SBCM) has become an important

international event during the last decade. The first symposium was held in Caxambu, 1994,
the second one in Canela, 1995, the third one in Recife, 1996, the fourth one in Brasília,
1997, the fifth one in Belo Horizonte, 1998, the sixth one in Rio de Janeiro, 1999, the seventh
one in Curitiba, 2000, the eighth one in Fortaleza, 2001, the ninth one in Campinas, 2003,
and the tenth one again in Belo Horizonte, 2005. Scientific research as well as technological
innovations related to computer music in Brazil can be tracked through the papers and related
works presented in each edition.
Argentina is one of the most prolific places for electroacoustic music composition in Latin
America. However, research activities focused on the development of applied technology for
music have been, generally speaking, sporadic and without much institutional support until
the recent years. Of course, there have been exceptions, like the aforementioned works by
Fernando von Reichenbach.
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Eleazar Garzón (born in Pozo del Molle, Córdoba, 1948), composer and researcher,
developed several computer applications for music. Some of them are: Sinapsis, introduced
in 1995 during the II Brazilian Symposium on Computer Music held in Canela and described
by his author as “a self-generating system of musical discourses”, and Mus-ario, introduced
in 2001 during the VII Brazilian on Computer Music held in Fortaleza and described as a
“simulator of musical discourses based on artificial life”.
Among the younger generation of technology researchers and composers born in Argentina
we find Pablo Cetta, Luis María Rojas, Damián Keller, Emiliano Causa and Francisco
Colasanto.
Pablo Cetta (born in Buenos Aires, 1960) started his activities as researcher in 1987 with the
project Digital Control of analog synthesizers at Centro de Investigación Musical of the
University of Buenos Aires (UBA). Subsequently he worked on the project Estudios sobre la
utilización del Espacio en Música partiendo de un hardware especialmente diseñado para tal
fin (Studies on the use of Space in Music applying specially designed hardware), which
resulted in the composition of his piece Bosco: jardín al compás del deseo. As part of his
work for the Centro de Estudios Electroacústicos at FACM-UCA he developed a series of
applications for computer assisted composition using pitch class sets, combinatorial arrays
and instrumental re-synthesis of sound synthesis techniques. He also developed digital signal
processing and educational software. During 1992 he was working on an automatic musical
performance software, applying musical graphics and MIDI control in real time. In 1996 he
worked on the project Estudio y desarrollo de una interfaz gráfica a aplicar en programas de
síntesis digital (Study and development of a graphic interface to apply to digital synthesis
programs). During the last years he was working on a research project focused on building
Un modelo para la simulación del Espacio en Música (A model for simulation of Space in
357
Music), which involved the development of sound spatial localization applications using the
HRTF technique applied to the composition of chamber music with electronic sounds.
Dr. Cetta composed several pieces for tape as well as mixed works.
Luis María Rojas (born in Bolivar, 1960) is researcher, musical software developer and
composer. He received a prize in the Computer Assisted Work category from the
International Institute of Electroacoustic Music of Bourges, France, for his Texture 3.0
software. Rojas says about his development: “Texture generates musical information by
stochastic means in two differents ways: the first one to be interpreted by a MIDI device, and
the other one to be interpreted by TRender, a sofware synthetizer included with the package.”
(Rojas, L. M. 2003. Personal communication).
Rojas also developed SMSrt during 2001, a Xavier Serra’s SMS based software.
He is teaching Electroacoustic Media at the Musical Conservatory of Bahia Blanca,

Argentina.
Damián Keller (born in Buenos Aires, 1966) has been developing an interdisciplinary
research work on instrumental timbre and formal structures using tools extracted from
psychology of perception, signal processing and musical analysis.
Some of Keller’s published articles and reports are: Theoretical outline of a hybrid musical
system, with C. Silva, published in the Proceedings of the Second Brazilian Symposium on
Computer Music held in Canela, Brazil, in 1995; Anitoo: some analysis tools, published in
the Proceedings of the International Computer Music Conference held in Hong Kong, in
1996; Ecologically-based granular synthesis, with B. Truax, published in the Proceedings of
the International Computer Music Conference held in Ann Arbor, United States, in 1998;
touch'n'go: Ecological Models in Composition, Master of Fine Arts Thesis, Simon Fraser
358
University, Burnaby, Canada, 1999; Social and perceptual dynamics in ecologically-based

composition, published in Proceedings of the VII Brazilian Symposium of Computer Music
held in Curitiba, Brazil, in 2000; Introduction to the ecological approach, included in the
accompanying CD-ROM coming with R. Bianchini and A. Cipriani (editors) Virtual Sound,
Contempo Edizioni, Rome, Italy, 2000; Social and perceptual processes in the installation
The Trade, with A. Capasso, published in Organised Sound Vol. 5 No. 2, 2000; Social and
perceptual dynamics in ecologically-based composition, published in Electronic
Musicological Review, Vol. 6, 2001; Accumulation and interaction in an urban landscape:
Urban Corridor, with A. Capasso, and S.R. Wilson, published in the Proceedings of the VIII
Brazilian Symposium of Computer Music held in Fortaleza, Brazil, 2001; Everyday sounds:
synthesis parameters and perceptual correlates, with J. Berger, published in the Proceedings
of the VIII Brazilian Symposium of Computer Music held in Fortaleza, Brazil, 2001.
In collaboration with C. Rolfe, Keller developed MacPOD, a real-time granular synthesis

software.
Emiliano Causa (born in La Plata, 1970) studied graphic art, composition, sax and
information systems’ engineering. He is Researcher and Professor at the Multimedia
Production career of the Fine Arts Faculty, University of La Plata.
Causa has been developing software applications for music, digital audio signal processing
and multimedia: a tool for assisted composition based on Schillinger techniques, a time
expander, a neural network based pitch recognition system, sound morphing software, and
some sound-image-movement developments, among others.
In 2002 Causa founded the group Proyecto Biopus (with Christian Silva, Tarsicio Pirotta and
Julián Isacch) to work on interactive artworks and web-art developments, bringing together
multimedia and artificial intelligence concepts.
He has been active in electroacoustic music, video and web art.

359
Francisco Colasanto (born in Buenos Aires, 1971) is researcher at IIESMUMD, Instituto de

Investigación Experimental en Sonido y Música por Medios Digitales de la Facultad de
Informática de la Universidad de Morón (Digital Sound and Music Experimental Research
Institute at University of Morón) and LIPM. His research is mainly focused in interactive
musical performances involving acoustic instruments and electronics.
Today, several public and private universities in Argentina are supporting some technology
research activities related to electroacoustic music creation and performance.
Research activities in terms of music technology applications and related new media
developments have been increasing since the mid 80s. Most researchers have been
developing, at least part of their work, out of their native country, looking for an adequate
support. Juan Reyes and Camilo Rueda from Colombia, Roberto Morales-Manzanares from
Mexico, and Rajmil Fischman from Peru, are some of those researchers.
Juan Reyes (born in Barranquilla, 1962), composer and researcher, obtained degrees in
Mathematics and Music Composition from the University of Tampa, in the United States. He
also studied computer music at Center for Computer Research in Music and Acoustics
(CCRMA) in Stanford University.
Reyes has been focusing his research on: artificial intelligence and music, 1995; spectral and
physical models of musical instruments, 1996; wavelets, 1997; chaos and attractors, 2000;
dynamic systems and scan synthesis, 2001; algorithmic composition, 2003; among other
topics.
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Some musical outputs of Reyes research projects can be heard in his pieces: Straw-Berry,
composed in 1997 at MOX - Advanced Computing Center of Los Andes University in
Bogota, where he was using physical modeling of blown and plucked musical instruments;
SygFrydo, composed in 1998 at MOX, using physical, spectral and expression modeling; and
Chryseis, composed in 2002 at CCRMA - Stanford University in California, using scanned
synthesis.
Camilo Rueda was helping to develop PatchWork, the visual music composition language
created at IRCAM, France, during the early 90s. Among other papers, he published: A visual
Programming Environment for Constraint Based Musical Composition in the proceedings of
the I Brazilian Symposium on Computer Music, 1994.
Roberto Morales-Manzanares (born in Mexico City, 1958) is an active composer,

performer and researcher. He developed Escamol, “an algorithmic tool for composition
which uses non-deterministic automatons controlled by rules” (Morales, E and Morales, R.
1995 Learning Musical Rules). Escamol can “generate more than 20 simultaneous voices and
its predicates include counterpoint modal rules, algorithms that simulate Alberti’s bass,
traditional harmonic progressions, contemporary composition rules and generative
grammars” (Morales, E and Morales, R. 1997. Music, Composition, Improvisation and
Performance through Body Movements).
Some of Morales published research papers are: Learning Musical Rules, collaboration with
E. Morales, 1995; Non Deterministic Automatons for Composition, in 1994 International
Computer Music Conference Proceedings, International Computer Music Association;
Análisis de forma y estilo musicales por inducción utilizando lógica de primer orden,
collaboration with E. Morales, in Revista de la Sociedad Matemática Mexicana vol. 14, 1994;
Learning Counterpoint rules for analysis and Generation, collaboration with E. Morales, in
First Brazilian Symposium on Computer Music, 1994; SICIB (Sistema Interactivo de
Composición e Improvisación para Bailarines), collaboration with E. Morales, in Revista de
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la Sociedad Matemática Mexicana vol. 16, 1996; Music, Composition, Improvisation and
Performance through Body Movements, in KANSEI The technology of Emotion, 1997
Proceedings, AIMI International Workshop; Integrating Bayessain Networks with Logic
Programs for Music, collaboration with E. Morales and E. Sucar, in 2000 International
Computer Music Conference Proceedings, International Computer Music Association.
Morales composed a large number of tape and mixed pieces using electroacoustic media,
many of them involving live electronics.
Rajmil Fischman (born in Lima, 1956) studied composition and electrical engineering, and
has been working with computer media since the mid 80s. He has been composing both tape
and mixed works. He is Professor at Keele University, in Staffordshire, U.K.
Some of his published papers are: Music for the Masses, published in 1994 by Journal of
New Music Research (Swets & Zeitlinger, Netherlands); A Systematic Approach to the
Analysis of Music for Tape, published in 1995 on the Proceedings of the International
Computer music Conference at Banff, Canada; followed by Analysis of Crosstalk, a work by
Michael Vaughan and The Phase Vocoder: Theory and Practice, both published in 1997 by
Organised Sound (Cambridge University Press, UK); Global Village - Local Universe,
published in 1999 by Leonardo Music Journal (The MIT Press, USA); Derivation of Organic
Musical Structure and Materials from the Solution of Differential Equations (MRI Press,
USA) and Application of Mathematical Models to the Generation of Organic Musical
Structure and Discourse in Composition: Research Summary, published in 2002 on the
Proceedings of the International Computer music Conference at Göteborg, Sweden. He also
contributed with two chapters, A Tutorial Survey of ‘Classic’ Synthesis Techniques and
Multiband Processing with Time-varying Filters to The Csound Book and accompanying CD-
ROM edited by Richard Boulanger and published in 2000 (The MIT Press, USA).
Fischman also has been developing some software applications, including: CDPDESK1,
CDP - Composers' Desktop Project and GRAPHLIB - CDP Graphics Library and manual in
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1987; MAESTRO1 - SoundMaestro for CD production. Version 1 in 1988; KEELEDESK, a

compositional environment for the manipulation and processing of soundfiles in 1991 (this
project includes and integrates the research and development carried out by Digital Music
Technology students at Keele University); AL, Algorithmic Composition Graphics
Environment, and ERWIN-COM plug-in for granular synthesis using the statistical
distributions obtained from Schröedinger’s quantum mechanics equation for a potential with
spherical symmetry, in 2001. Since 1987 he has been also developing miscellaneous
programs for musical signal processing, distributed by the Composers' Desktop Project.
Throughout this chapter a first approach to the music-related technology and science research
developed in different Latin American countries is proposed. It was very difficult to find
traces of the pioneering music-related technology innovations developed by José Vicente
Asuar, Juan Blanco, Raúl Pavón, Fernando von Reichenbach, and Mauricio Milchberg with
César Bolaños. For example, it was impossible to find Pavón in Mexico, even asking many of
his colleagues, they have no references about where he could be living today. Once again, I
need to say here that part of our recent history in terms of art and new technologies is being
lost, and we need to do much more before it is too late.
While Brazilian researchers have been developing important activities, both in their own
country and abroad for the last three decades, Argentinian, Colombian and Mexican
researchers have been increasing their music-related technology and scientific studies during
the last few years.
CHAPTER IX
CONCLUSIONS
9.1 Conclusions
The results of my research show a sustained development in several Latin American

countries in terms of musical creation involving electroacoustic media.
Argentina, Brazil and Cuba have been showing uninterrupted activities around the studied
field since the 50s or 60s. On the other hand, countries like Chile, Mexico, Uruguay and
Venezuela showed pioneering activities during the 50s or 60s but then an irregular
production, in some cases until the late 80s or 90s, when strong activities in the field
restarted.
Composers from Bolivia, Colombia, Ecuador and Peru using electroacoustic media in their
music during the 60s and 70s were mainly working at studios in Europe, the United States or
in other Latin American countries (e.g. Argentina).
In a few countries of the studied region, like Costa Rica or El Salvador, we can track
sustained activities in the electroacoustic music field only since the 80s, the 90s, or even just
a very few years ago.
There are also some exceptional situations, like the one in Guatemala or the Dominican
Republic, where just a few composers have been integrating electroacoustic techniques and
technologies in their music. In spite of that, in Guatemala Joaquín Orellana started to
incorporate electroacoustic media in his music during the early 60s. In the Dominican
364
Republic the first activities were found around the late 70s.
To my initial main research question: How has the tradition of musical creation using
electroacoustic media developed in Latin America? I am proposing this thesis together with
the collection of recordings archived at the Daniel Langlois Foundation as an answer. With
them I am aiming to unfold part of the Latin American electroacoustic music history, helping
to keep the memory of this tradition developed through the work of many artists and
technology innovators. This empirical research has allowed me to work with pioneers of the
electroacoustic music field and to produce concrete actions to preserve some of their
endangered works.
The few major initiatives supporting electroacoustic music creation during the early years of
its development in Latin America, like the CLAEM at Instituto Di Tella in Buenos Aires
during the 60s, did not produce any actions related to the preservation and documentation of
their vast production.
The region’s economic and social conditions were not good and are not much better today. In
some cases, they are even worse now than during the 50s or 60s, but the affordability and
availability of sophisticated electronic technologies to produce and transform musical sounds
is a different reality today from that of the pioneering years.
The experimental approach of many composers, together with innovative solutions coming
from technology makers, resulted in a vast and rich production developed during several
decades, beginning just a few years later than in the places where electroacoustic music was
born.
The history of Latin America as a region has many points in common. When electroacoustic
music activities started in the different countries there were many similarities in their context.
The political, social and economic situation have been difficult in most countries for many
years, and that has not changed much lately.
365
The access to the technology needed to create electroacoustic music was prohibitive for
individuals until not so many years ago. The costs of buying equipment were very high and
the technical maintenance also costly and usually extremely complex to resolve.
Composers were traveling to Europe and the United States to be able to learn about the new
technologies and, most of all, to be able to use them in their own creations. Local institutional
support was scarce in Latin America, and with a few exceptions, no organizations were able
to survive for a long period. Talented composers and creative technology innovators were
“making the change”, most of them without important institutional support. They have been
the real basis for this incredible musical production that has not been very well known in
most of the main northwestern centers of electroacoustic music or even in Latin America
itself.
The lack of preservation actions and documentation about electroacoustic music in Latin
America led to the urgent need to do something about it, before it was too late, and this text
together with its accompanying recordings archive are the results of this regional-focused
initiative.
9.2 Future steps
Hopefully, the work I have been presenting throughout this text will invite the reader to
explore more about the wonderful and largely unknown sonic world created by hundreds of
Latin American composers over the past several decades.
Future steps could follow multiple paths, as for example: (a) further research work on the
recordings already available at the Daniel Langlois Foundation for Art, Science and
Technology, (b) further regional or local field-research with composers and/or organizations
that still have musical recordings and information of pioneering works.
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The basic information I have included in the database accompanying the recordings of the
collection I have developed at the DLF could be widely expanded. The compositional
techniques used in some works, as well as the technology developed for them are two aspects
that could be considered to extend this study, but also, in a deep contextual analysis, the
history and socio-economic characteristics of the different countries of the region could be
looked into. In fact, I consider this work is a part of an unfolding process where we could
find a new world of sounds and music but it is also a process of basic knowledge about
different cultural contexts with varied artistic developments.
At the moment of this writing, 2005, there are several major European institutions joining
efforts to find possible solutions for the electroacoustic music preservation problem.
Today a more energetic action is needed in order to build initiatives that will open
preservation and access to our electroacoustic heritage. Two major dangers threaten
the electroacoustic memory:
- The decaying of all media, mainly analog but also early digital media
- The fact that many actors and historical centres are disappearing, carrying with
them knowledge and know-how about collections, technology and history.
Concern is growing in the electroacoustic community as well as in the academic

domain for developing initiatives that may improve this situation and progressively
build a common, wide, non-aesthetic oriented preservation action.
The approach of the network is completely open-minded. There are no aesthetic or

technological restrictions; the main concern is that there is media that needs to be
preserved. Priority is given to endangered media, mainly analog media and early
digital media. The urgency is to preserve music for which media is the only carrier,
and may disappear if the media decays. Our focus is on music composed with
technological devices.
Many questions remain open: what documentation systems and protocols are needed;
what do we do with essential documents such as scores and diagrams; what future is
there for old software, hardware, machines and devices used for musical creation;
what essential information should be preserved so as to guarantee a future
performance of a work? Within the project’s scope there are no limitations, the entire
electroacoustic domain is concerned and no limits should be put to it. The only
limitations are practical; what can be done, and what are the priorities in relation with
the danger of losing our heritage?
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Teruggi, D. (2005). Electroacoustic Music Preservation: a memorandum. Email

subject: Electroacoustic Preservation Meeting. France.
This text and the accompanying recordings archive are positive steps towards what the
European initiative is mentioning. However, many more actions must be taken soon to
preserve an important part of the Latin American heritage concerning its recent artistic
production involving electronic technologies.
I hope this work will be useful and will help others to learn something from it.
LATIN AMERICAN ELECTROACOUSTIC MUSIC COLLECTION
Argentina
Table 12. Musical compositions created by Argentinian composers

available for listening in the Latin American Electroacoustic Music Collection.
Date of
Composition Date of creation Composer
birth
Dos Estudios en Oposición 1959 Dianda, Hilda 1925
A-7 1964 Dianda, Hilda 1925
Contrastes 1964 Krieger, Armando 1940
Diálogos I 1964 1965 Kröpfl, Francisco 1931
Electronic Study No.3 1964 1965 Davidovsky, Mario 1934
Concreción 65 1965 Castillo, Graciela 1940
Diálogos II 1965 Kröpfl, Francisco 1931
exercise I (1965-V) 1965 lanza, alcides 1929
Forma sonora de Ondina : Homenaje a
Aloysius Bertrand 1965 Arandia Navarro, Jorge 1929
Composición 9b 1966 Moretto, Nelly 1925
interferences I (1966-II) 1966 lanza, alcides 1929
interferences I (1966-II) [tape part
only] 1966 lanza, alcides 1929
kromoplasticos 1966 lanza, alcides 1929
plectros II (1966-I) 1966 lanza, alcides 1929
plectros II (1966-I) [tape part only] 1966 lanza, alcides 1929
interferences II (1967-I) 1967 lanza, alcides 1929
interferences II (1967-I) [tape part
369
strobo I (1967-V) 1967 lanza, alcides 1929

strobo I (1967-V) [tape part only] 1967 lanza, alcides 1929
two times too 1967 lanza, alcides 1929
Ejercicio I 1968 Grela, Dante 1941
ekphonesis I (1968-II) [tape part only] 1968 lanza, alcides 1929
ekphonesis II (1968-III) 1968 lanza, alcides 1929
ekphonesis II (1968-III) [tape part
Estudio Electrónico No. 1 1968 Tejeda, Eduardo 1923
Médisances 1968 Ferreyra, Beatriz 1937
penetrations I (1968-IV) 1968 lanza, alcides 1929
ekphonesis III (1969-II) 1969 lanza, alcides 1929
ekphonesis III (1969-II) [tape part
Four electronic statements (1969-
IIIbis) 1969 lanza, alcides 1929
Invocation 1969 Serra, Luis Maria 1942
Ludwig van [tape part only] 1969 Kagel, Mauricio 1931
penetrations II (1969-IV) [version 1] 1969 lanza, alcides 1929
penetrations II (1969-IV) [version 2] 1969 lanza, alcides 1929
penetrations II (1969-IV) [tape part
The Cement Jungle Suite (1969-III) 1969 lanza, alcides 1929
Tres movimientos para cinta
magnetofónica 1969 Tosco, Virgilio F. H. 1930
Analogías Paraboloides 1970 Caryevschi, Pedro
Dynamus 1970 Bértola, Eduardo 1939
La Panadería 1970 Kusnir, Eduardo 1939
L'Orvietan 1970 Ferreyra, Beatriz 1937
370
Mnémon 1970 Maranzano, José 1940

Música para sintetizador 1970 Kröpfl, Francisco 1931
Penetraciones 1970 1972 Bértola, Eduardo 1939
penetrations V (1970-IV) 1970 lanza, alcides 1929
penetrations V (1970-IV) [tape part
acúfenos II (1971-IV) 1971 lanza, alcides 1929
acúfenos II (1971-IV) [tape part only] 1971 lanza, alcides 1929
Atmósferas II 1971 Tosco, Virgilio F. H. 1930
Dividido dos 1971 Etkin, Mariano 1943
eidesis III (1971-II) 1971 lanza, alcides 1929
eidesis III (1971-II) [tape part only] 1971 lanza, alcides 1929
ekphonesis IV (1971-III) [tape part
Música en-cinta 1971 Alvarez, Calixto 1938
Penetraciones II 1971 Bértola, Eduardo 1939
plectros III (1971-I) 1971 lanza, alcides 1929
plectros III (1971-I) [tape part only] 1971 lanza, alcides 1929
Skolyon 1971 Viera, Julio Martín 1943
Estudio 1972 Grela, Dante 1941
penetrations VII (1972-III) 1972 lanza, alcides 1929
penetrations VII (1972-III) [tape part
Siesta Blanca 1972 Ferreyra, Beatriz 1937
Absolum 1973 Luengo, María Teresa 1940
Estudio I 1973 Rapp, Jorge 1946
hip'nos I (1973-I) 1973 lanza, alcides 1929
Canto del Loco 1974 Ferreyra, Beatriz 1937
Parca 1974 Bazán, Oscar 1936
371
plectros IV (1974-I) 1974 lanza, alcides 1929

plectros IV (1974-I) [tape part only] 1974 lanza, alcides 1929
... Después el silencio ... 1975 1976 Dianda, Hilda 1925
Bah, le dije al tiempo 1975 Moretto, Nelly 1925
huauqui 1975 Paraskevaidis, Graciela 1940
kron'ikelz75 [1975-I] 1975 lanza, alcides 1929
Los números 1975 Bazán, Oscar 1936
Memento 1975 Maranzano, José 1940
Senzar 1975 Tejeda, Eduardo 1923
Tramos 1975 Bértola, Eduardo 1939
Un tiempo, un lugar ... 1975 Rapp, Jorge 1946
Visiones 1976 Serra, Luis Maria 1942
acúfenos III (1977-I) 1977 lanza, alcides 1929
acúfenos III (1977-I) [tape part only] 1977 lanza, alcides 1929
eidesis IV (1977-II) 1977 lanza, alcides 1929
eidesis IV (1977-II) [tape part only] 1977 lanza, alcides 1929
Scherzo 1977 Kröpfl, Francisco 1931
…out of… (1978-I) 1978 lanza, alcides 1929
Cotidiana 1978 Rapp, Jorge 1946
Echos 1978 Ferreyra, Beatriz 1937
ekphonesis V (1979-I) 1979 lanza, alcides 1929
ekphonesis V (1979-I) [tape part only] 1979 lanza, alcides 1929
El cuaderno del alquimista 1979 Mandolini, Ricardo 1950
Glaciación 1979 Grela, Dante 1941
Una Orquesta Imaginaria 1979 Viñao, Alejandro 1951
Voces II 1979 1982 Terzián, Alicia 1934
acúfenos V (1980-II) 1980 lanza, alcides 1929
acúfenos V (1980-II) [tape part only] 1980 lanza, alcides 1929
Canción de Madera y Agua 1981 Mandolini, Ricardo 1950
372
Go 1981 Viñao, Alejandro 1951

Configuraciones Espaciales 1982 Grela, Dante 1941
Estudio sobre Ritmo y Espacio 1982 Dal Farra, Ricardo 1957
Estudio sobre un ataque de timbal 1982 Dal Farra, Ricardo 1957
Hinterland 1982 Roqué Alsina, Carlos 1941
módulos II (1982-I) 1982 lanza, alcides 1929
módulos II (1982-I) [tape part only] 1982 lanza, alcides 1929
Montparnasse la nuit 1982 Teruggi, Daniel 1952
Octuor 1982 Vaggione, Horacio 1943
Tres Piezas para Flauta y Sonidos
Electrónicos 1982 Palazzo, Ricardo 1955
Y así era 1982 Castillo, Graciela 1940
Audiciones 1983 Dal Farra, Ricardo 1957
Civilizaciones 1983 v.2003 Dal Farra, Ricardo 1957
De mi huían los pájaros 1983 Mandolini, Ricardo 1950
Estudio elíptico 1983 Dal Farra, Ricardo 1957
interferences III (1983-IV) [version 1] 1983 lanza, alcides 1929
interferences III (1983-IV) [version 2] 1983 lanza, alcides 1929
interferences III (1983-IV) [tape part
módulos III (1983-III) 1983 lanza, alcides 1929
módulos III (1983-III) [tape part only] 1983 lanza, alcides 1929
Poema reiterado 1983 Mandolini, Ricardo 1950
sensors IV (1983-V) 1983 lanza, alcides 1929
sensors IV [tape part only] 1983 lanza, alcides 1929
Aquí, allá y en todas partes ... 1984 Rapp, Jorge 1946
Ceremonia Secreta 1984 Mandolini, Ricardo 1950
Gags Kags 1984 Kusnir, Eduardo 1939
Klavierstück VI (Hommage à Bach) 1984 Roqué Alsina, Carlos 1941
373
Música para Hall 1984 Dal Farra, Ricardo 1957

Costa, Carlos
Mutación II 1984 1985 Kröpfl, Francisco 1931
Overstrung 1984 1985 Valverde, Gabriel 1957
Sphæra : Eterea 1984 1993 Teruggi, Daniel 1952
Una música, un rumor, un símbolo 1984 Valverde, Gabriel 1957
¿Es ese el baile de Delia Ble? 1985 Edelstein, Oscar 1953
Cómo es Lily? 1985 Kusnir, Eduardo 1939
Ek-stasis 1985 1986 Valverde, Gabriel 1957
ektenes I (1985-III) 1985 lanza, alcides 1929
Estudio Electronico II 1985 Rapp, Jorge 1946
Incertidumbre 1985 Mendelievich, Eudardo 1958
Petit Poucet Magazine 1985 Ferreyra, Beatriz 1937
Primer Instante [tape 1] 1985 Dal Farra, Ricardo 1957
Primer Instante [tape 2] 1985 Dal Farra, Ricardo 1957
Son Entero 1985 1988 Viñao, Alejandro 1951
Thema 1985 Vaggione, Horacio 1943
Acusmático 1986 Dal Farra, Ricardo 1957
Al menor ruido los pájaros se callan 1986 Tauriello, Antonio 1931
Ancestros 1986 Dal Farra, Ricardo 1957
Canto a mi misma 1986 1987 Terzián, Alicia 1934
Clones 1986 Dal Farra, Ricardo 1957
Gervasoni, Arturo 1962
Contradicciones 1986 Simkin, Carlos 1944
Dos niños amenazados por un ruiseñor 1986 Tauriello, Antonio 1931
Double 1986 Dal Farra, Ricardo 1957
Intangibles universos 1986 Grela, Dante 1941
Integrados 1986 Dal Farra, Ricardo 1957
374

Karma [stereo version] 1986 Dal Farra, Ricardo 1957
Karma [4 tracks] 1986 Dal Farra, Ricardo 1957
PH 1986 Dal Farra, Ricardo 1957
Procesos 1986 Dal Farra, Ricardo 1957
Sonambula 1986 1987 Nillni, Ricardo 1960
Sphæra : Aquatica 1986 1993 Teruggi, Daniel 1952
The U.F.O. forest 1986 Ferreyra, Beatriz 1937
Toccata del Mago 1986 1987 Viñao, Alejandro 1951
“La Noche de las Noches” seven Zenga 1987 1989 Viñao, Ezequiel 1960
arghanum III (1987-II) 1987 lanza, alcides 1929
arghanum IV (1987-III) 1987 lanza, alcides 1929
López Lezcano,
Búsqueda 1987 Fernando 1956
Cúmulos 1987 1988 Valverde, Gabriel 1957
Divertimento II : El Reloj 1987 Viera, Julio Martín 1943
G 1987 Dal Farra, Ricardo 1957
Hambulat Hic Armatus Homo 1987 Piantino, Eduardo 1943
L'autre ... ou le chant des marécages 1987 2004 Ferreyra, Beatriz 1937
Para Todos Ellos 1987 Dal Farra, Ricardo 1957
Planos Imaginarios 1987 Perales, Stella 1944
Souffle d'un petit Dieu distrait 1987 1997 Ferreyra, Beatriz 1937
Viril Occidente 1987 Edelstein, Oscar 1953
... due giorni dopo [stereo version] 1988 Dal Farra, Ricardo 1957
... due giorni dopo [4 tacks] 1988 Dal Farra, Ricardo 1957
...there is a way to sing it... (1988-III) 1988 lanza, alcides 1929
Argos 1988 Fumarola, Martín 1966
375
Canticum 1988 Franchisena, César 1923

ekphonesis VI (1988-II) 1988 lanza, alcides 1929
ekphonesis VI (1988-II) [tape part
Entropogel 1988 Nillni, Ricardo 1960
København 1988 Luna, Fabián 1963
Orillas 1988 Kröpfl, Francisco 1931
Sçir 1988 Vaggione, Horacio 1943
Uhuru 1988 Dal Farra, Ricardo 1957
Vértex 1988 Pérez Miró, Ricardo 1952
A bylo to tak... 1989 Fiore, Héctor 1953
Danzas 1989 Gerardi, Enrique 1926
De los mundos paralelos 1989 Grela, Dante 1941
Doble Mensaje 1989 Mary, Mario Marcelo 1961
EGT 1989 Dal Farra, Ricardo 1957
El Grito 1989 Lopez Blanco, Esteban
El Valle de las Profecías 1989 Bazán, Oscar 1936
Estatismo 1989 Fumarola, Martín 1966
Homenaje a Pierre Schaeffer 1989 Belloc, Enrique 1936
Japi-Nd 1989 Dal Farra, Ricardo 1957
lacrimosa a salvador dalí 1989 Schmilovich, Sergio 1959
Los Giros del Alma del Toro 1989 Sad, Jorge L. 1959
Melólogo I (Chroniques de l'abolition
de l'esclavage) 1989 Serra, Luis Maria 1942
Nio Aeln 1989 Grätzer, Carlos 1956
Sikxo 1989 Justel, Elsa 1944
SP4 1989 Dal Farra, Ricardo 1957
Sphæra : Focolaria 1989 1993 Teruggi, Daniel 1952
376
Sphæra : Terra 1989 1993 Teruggi, Daniel 1952

Synergy 1989 Furman, Pablo 1955
Synergy [tape part only] 1989 Furman, Pablo 1955
un mundo imaginario (1989-II) 1989 lanza, alcides 1929
un mundo imaginario (1989-II) [tape
part only] 1989 lanza, alcides 1929
Xastock 1989 Dal Farra, Ricardo 1957
Anaconda 1990 Rosas Cobian, Michael 1953
arghanum V (1990-I) pet 1990 lanza, alcides 1929
arghanum V (1990-I) pet [tape part
arghanum V (1990-I) pi 1990 lanza, alcides 1929
arghanum V (1990-I) pi [tape part
Ash 1990 Vaggione, Horacio 1943
Batimenti 1990 Cerana, Carlos 1958
Ciao bambina 1990 Fiore, Héctor 1953
Ecos 1990 Schachter, Daniel 1953
El adiós 1990 Pozzati, Guillermo 1958
Endorfina 1990 Mary, Mario Marcelo 1961
Escenas para un film - I 1990 Gerardi, Enrique 1926
Escenas para un film - II 1990 Gerardi, Enrique 1926
Failles fluorescentes 1990 Grätzer, Carlos 1956
Gaps 1990 Nillni, Ricardo 1960
Gaps [tape part only] 1990 Nillni, Ricardo 1960
Kai generated 1990 Fiore, Héctor 1953
La Confesión 1990 Schmilovich, Sergio 1959
Las vaquitas son ajenas 1990 Fiore, Héctor 1953
Lejanía 1990 Gerardi, Enrique 1926
377
Melólogo II (A Jacques Coeur,

Argentier du Roi) 1990 Serra, Luis Maria 1942
Persecución 1990 Keller, Damián 1966
Strata 1990 Furman, Pablo 1955
Tecnota 1990 Fiore, Héctor 1953
the freedom of silence (1990-II) 1990 lanza, alcides 1929
the freedom of silence (1990-II) [tape
part only] 1990 lanza, alcides 1929
Tonal / Nagual 1990 Sad, Jorge L. 1959
Tu casa o este océano 1990 Dirie, Gerardo 1958
A.M a deux (Divertimento) 1991 Serra, Luis Maria 1942
Ashram 1991 Dal Farra, Ricardo 1957
Ashram [tape part only] 1991 Dal Farra, Ricardo 1957
Buenos días fue un buen día 1991 Kusnir, Eduardo 1939
Cohesión 1991 Mary, Mario Marcelo 1961
Composición 1991 Grela, Dante 1941
Dos estudios preliminares 1991 1992 Valverde, Gabriel 1957
El Simurgh -Book I- "The Conference
of the Birds" 1991 Viñao, Ezequiel 1960
Estudio Sobre Una Configuración
Fractal 1991 Zimbaldo, Daniel 1955
Expansión 1991 San Martín, Patricia
Furioso 1991 Dal Farra, Ricardo 1957
Biriotti, León 1929
Fy Mor 1991 Justel, Elsa 1944
Hálito 1991 Schachter, Daniel 1953
López Lezcano,
Hot'n cold 1991 Fernando 1956
Huellas digitales 1991 Cerana, Carlos 1958
378
India vieja, sincretismo #1 1991 Halac, José 1962

Mano a Mano 1991 Teruggi, Daniel 1952
Schwarz, Jean
Memorias II 1991 1992 Castillo, Graciela 1940
Mnèse 1991 1992 Nillni, Ricardo 1960
Sinfonía Concertante 1991 Belloc, Enrique 1936
Solo Saxo Barítono 1991 Alsuyet, Claudio 1957
son glosas, claro... (1991-I) 1991 lanza, alcides 1929
Soplando Almas 1991 Naón, Luis 1961
Three Winters 1991 Calzón, Miguel 1956
Till 1991 Vaggione, Horacio 1943
Tintas 1991 Candia, Cecilia 1959
Urbis #2 1991 Rosas Cobian, Michael 1953
Vestigios 1991 Lluán, Claudio 1957
Womb (etudes) 1991 Rosas Cobian, Michael 1953
... para el trato con el desierto 1992 Budón, Osvaldo 1965
...que me hiciste mal... 1992 Cetta, Pablo 1960
A1 1992 Schachter, Daniel 1953
ALL + 1992 1993 Justel, Elsa 1944
Bakxai 1992 Rosas Cobian, Michael 1953
Borges y el Espejo 1992 Viñao, Alejandro 1951
Break up 1992 Rapp, Jorge 1946
Chant d'Ailleurs 1992 Viñao, Alejandro 1951
Danzas 1992 Schmilovich, Sergio 1959
Desde la Torre 1992 Figueiras, Juan Carlos 1957
Divertimento III 1992 Viera, Julio Martín 1943
D'un souffle retrouvé 1992 1993 Grätzer, Carlos 1956
El Simurgh (Book II) 1992 Viñao, Ezequiel 1960
Homotecia [III] 1992 1994 Dal Farra, Ricardo 1957
379
Homotecia [IX] 1992 2004 Dal Farra, Ricardo 1957

Homotecia [tape part only] 1992 Dal Farra, Ricardo 1957
Homotecia [Va] 1992 1995 Dal Farra, Ricardo 1957
Homotecia [Vb] 1992 1995 Dal Farra, Ricardo 1957
Homotecia [VI] 1992 2001 Dal Farra, Ricardo 1957
Homotecia [VII] 1992 2002 Dal Farra, Ricardo 1957
In-movile 1992 1993 Fumarola, Martín 1966
KITAB 1992 Vaggione, Horacio 1943
Latido Estival 1992 Justel, Elsa 1944
Maturity, sincretismo #3 1992 Halac, José 1962
Memorias 1992 Dal Farra, Ricardo 1957
Memorias del Poeta 1992 Schmilovich, Sergio 1959
Minimax 1992 Cerana, Carlos 1958
Mirada Roja 1992 Chab, Gustavo 1964
Stanford (a mi padre) 1992 Pozzati, Guillermo 1958
Syrcus 1992 Teruggi, Daniel 1952
Uitotos, sincretismo #2 1992 Halac, José 1962
Veladuras 1992 Nillni, Ricardo 1960
vôo (1992-I) 1992 lanza, alcides 1929
vôo [tape part only] 1992 lanza, alcides 1929
Alma de las orquestas 1993 Di Liscia, Pablo 1955
Ball, sincretismo #4 1993 Halac, José 1962
Brasil[espaço]ia 1993 1994 Keller, Damián 1966
Carmelorimba : Un saludo a Carmelo
Saitta 1993 Belloc, Enrique 1936
Del otro lado del silencio 1993 Mary, Mario Marcelo 1961
Desencuentros 1993 Pensado, Andrea 1965
El libro de los seres imaginarios 1993 Sad, Jorge L. 1959
380
López Lezcano,
Espresso Machine II 1993 1995 Fernando 1956
Fall 1993 Cerana, Carlos 1958
Gritos y gritarras 1993 Cromberg, Teodoro 1955
Instants d'hiver 1993 Teruggi, Daniel 1952
Kölnisch Wasser 1993 1994 Bellusci, Miguel 1958
La esfera y la piedra 1993 1994 Naón, Luis 1961
La ira de Fassbinder 1993 Mihovilcevic, Luis 1958
La vida perdurable 1993 Calzón, Miguel 1956
Las obsesiones de Pierre Delval : 1ra.
obsesión 1993 Mihovilcevic, Luis 1958
Leph 1993 Vaggione, Horacio 1943
Lucero 1993 Rosas Cobian, Michael 1953
Macristalhias 1993 Naón, Luis 1961
Mare Nostrum III 1993 Schmilovich, Sergio 1959
Mestizaje 1993 1994 Biffarella, Gonzalo 1961
Monedas de Hierro 1993 Matalon, Martín 1958
Para Bla : un saludo a Barbara Belloc 1993 Belloc, Enrique 1936
pizz. 1993 Garavaglia, Javier 1960
Remansos 1993 Goldberg, Silvia
Seine sans e 1993 Schachter, Daniel 1953
Sureña 1993 Furman, Pablo 1955
Sureña [tape part only] 1993 Furman, Pablo 1955
López Lezcano,
Three Dreams 1993 Fernando 1956
Tiempo quebrado (Sin Tiempo I) 1993 Schachter, Daniel 1953
Un hombre 1993 Schmilovich, Sergio 1959
Un tiro de dados 1993
Losa, Diego
Willey, Robert
381
Vino nuevo en odres viejos 1993 Martinez, Edgardo 1958

Wind Again 1993 Budón, Osvaldo 1965
3 Cascadas en Transición 1994 Luna, Fabián 1963
Acousmaclip 2 : Las Relaciones
Peligrosas 1994 Belloc, Enrique 1936
Ancestros 1994 Garzón, Eleazar 1948
Apocalypse was postponed due to lack
of interest 1994 Pampin, Juan 1967
Biósfera I 1994 Rapp, Jorge 1946
Cuarteto 1994 Dal Farra, Ricardo 1957
El pesar de los Pájaros: homenaje a
Jackes Prevert 1994 Calmens, Claudio 1962
Entre vents et marées 1994 Roqué Alsina, Carlos 1941
Espejos de tiempo 1994 2002 Martinez, Patricia 1973
Espejos virtuales 1994 1996 Schachter, Daniel 1953
Espejos, certeza, cereza 1994 Calmens, Claudio 1962
Gato's Raid 1994 Rosas Cobian, Michael 1953
Gegensätze (gegenseitig) 1994 Garavaglia, Javier 1960
Gestes de l'écrit 1994 Teruggi, Daniel 1952
Gramatica Vitae 1994 Belloc, Enrique 1936
Hildegard's Dream 1994 Viñao, Alejandro 1951
Compañía de Música
ID2 1994 1995 Imaginaria
ID3 1994 1995 Imaginaria
IL1 1994 1995 Imaginaria
in ...visible (1994-I) 1994 lanza, alcides 1929
in ...visible (1994-I) [tape part only] 1994 lanza, alcides 1929
382
Incursiones en el AREM [version for

sampled instruments] 1994 Kröpfl, Francisco 1931
Incursiones en el AREM [version for
electronic sounds] 1994 Kröpfl, Francisco 1931
Köchenseq 1994 1995 Imaginaria
La Melodía Perdida 1994 Villar, Jorge 1937
Las últimas luces 1994 Druetta, Hugo
Mel18 1994 Dal Farra, Ricardo 1957
Microtematismo 1994 Pozzati, Guillermo 1958
Mininga 1994 1995 Imaginaria
Movimiento urbanos 1994 Martinez, Edgardo 1958
Otros lugares 1994 Pérez Miró, Ricardo 1952
Pieza 1 - 1993 1994 1995 Imaginaria
poPierre 1994 1997 Belloc, Enrique 1936
Ráfagas de tiempo 1994 Grätzer, Carlos 1956
Renacer 1994 Carranza, Ofelia 1953
Restos de nada 1994 1999 Martinez, Patricia 1973
Rumbos 1994 Rosas Cobian, Michael 1953
Schall 1994 Vaggione, Horacio 1943
Set-in 1994 Fumarola, Martín 1966
Síntesis, en cuatro sueños 1994 Mihovilcevic, Luis 1958
Timbres partiels 1994 Mary, Mario Marcelo 1961
Trío 1994 1995 Imaginaria
AL Rumga! 1995 Pensado, Andrea 1965
383
Arcano 72 1995 Mihovilcevic, Luis 1958

Arcano 82 1995 Mihovilcevic, Luis 1958
Arte Poética (I) 1995 Garavaglia, Javier 1960
Arte Poética (II Stanza) 1995 Garavaglia, Javier 1960
Autour des Tores 1995 Nillni, Ricardo 1960
Del ser o la nada y esa desesperada
búsqueda 1995 Polonuer, Fernando 1964
ektenes III (1995-I) 1995 lanza, alcides 1929
ektenes III (1995-I) [tape part only] 1995 lanza, alcides 1929
El pájaro 1995 Kröpfl, Francisco 1931
El Peregrinar de la Araña 1995 Fumarola, Martín 1966
Electrocañas 1995 Cerana, Carlos 1958
Losa, Diego
Feuillage de silence 1995 Justel, Elsa 1944
Figuras Flamencas 1995 Verandi, Mario 1960
Homenaje a E.C. 1995 1996 Biffarella, Gonzalo 1961
Intramuros II 1995 Schachter, Daniel 1953
La legende des clones 1995 Mandolini, Ricardo 1950
La rue de la Cage Verte 1995 Biffarella, Gonzalo 1961
Music for Alto Saxophone &
Electronics 1995 Furman, Pablo 1955
Música entre Músicas / 2 1995 Gerardi, Enrique 1926
Orígenes 1995 1996 Biffarella, Gonzalo 1961
Plegaria 1995 Biffarella, Gonzalo 1961
Rugosidades del inconsciente colectivo 1995 Belloc, Enrique 1936
Tap-Tap-Tap 1995 Kusnir, Eduardo 1939
Tríptico 1995 1997 Haro, Jorge 1963
Voces del recuerdo 1995 1996 Minsburg, Raúl 1965
Web composition 1995 Verandi, Mario 1960
384
A tear on the desert 1996 Verandi, Mario 1960

Iglesias-Rossi,
Angelus 1996 Alejandro 1960
Arte Poética (Stanzas III to VII) 1996 Garavaglia, Javier 1960
Auto-rre-trato 1996 1999 Martinez, Patricia 1973
AWB 1996 1997 Mihovilcevic, Luis 1958
Ça, c'est Bourges : hommage à
Schaeffer 1996 Biffarella, Gonzalo 1961
Callejuelas 1996 Fumarola, Martín 1966
Chi-pa-boo 1996 Justel, Elsa 1944
Ciclópeo 1996 Moliterni, Antonio 1963
Claustrum 1996 Naón, Luis 1961
Claxis 1996 Mihovilcevic, Luis 1958
Contraries (Resonances) 1996 Garavaglia, Javier 1960
Dancescape 1996 Verandi, Mario 1960
Del Big Bang a la Torre de Babel 1996 Candia, Cecilia 1959
Dos piezas 1996 Loudet, Pablo 1969
Du libe tu? 1996 Justel, Elsa 1944
Estudio para tres 1996 Loudet, Pablo 1969
Faces and Intensities 1996 Verandi, Mario 1960
Fuga tras un objeto oculto 1996 Schachter, Daniel 1953
Fuyante 1996 Budón, Osvaldo 1965
Fuyante [tape part only] 1996 Budón, Osvaldo 1965
Haricots 1996 Justel, Elsa 1944
Hasta que el tiempo se quiebre 1996 1999 Martinez, Patricia 1973
Heartbreaker 1996 Verandi, Mario 1960
Colectivo de Creación
Klang/Clan 1996 1997 Sonora
Las siete vidas de un gato 1996 Matalon, Martín 1958
385
Los Enemigos del Hombre de

Conocimiento [version 1] 1996 Mandolini, Ricardo 1950
Los Enemigos del Hombre de
Conocimiento [version 2] 1996 Mandolini, Ricardo 1950
Los Pliegues del Cielo 1996 Poblete, Sergio 1959
Madres en el desierto 1996 Rojas, Luis 1960
Marimabágenes 1996 Cromberg, Teodoro 1955
Metal Hurlant 1996 Pampin, Juan 1967
Mont Jüic 1996 Lafuret Pereyra, Raúl
Narziss 1996 Lafuret Pereyra, Raúl
Objetos animados : homenaje a Pierre
Schaeffer. 1996 Rapp, Jorge 1946
Rastros 1996 Biffarella, Gonzalo 1961
Spectral Colours 1996 Garavaglia, Javier 1960
Summer Band 1996 Teruggi, Daniel 1952
Terrero 1996 1997 Varchausky, Nicolás 1973
Territorios 1996 Budón, Osvaldo 1965
The Big Dipper (1996-II) 1996 lanza, alcides 1929
The Big Dipper (1996-II) [tape part
Tierra y Sol 1996 Dal Farra, Ricardo 1957
Vidrios 1996 Alcaráz, Gustavo
Vientos 1996 Kröpfl, Francisco 1931
Ya nunca me veras como me vieras 1996 Mataloni, José 1965
... raíces lejanas, tal vez ... 1997 Schachter, Daniel 1953
...se desprende y cae... 1997 1998 Martinez, Patricia 1973
Al sur 1997 Kröpfl, Francisco 1931
Alba Sud 1997 1998 Justel, Elsa 1944
Antaitl 1997 Rojas, Luis 1960
386
Añoranza de lo dionisíaco 1997 Cromberg, Teodoro 1955

Ausbruch 1997 Grätzer, Carlos 1956
Blue Diamond 1997 Villar, Jorge 1937
Círculo de Piedra 1997 1959
Candia, Cecilia
Foutel, Ana
crystal mirages 1997 Teruggi, Daniel 1952
D'un geste apprivoisé 1997 Campana, José Luis 1949
El radar de Tasmania (a Tarkovski) 1997 Mihovilcevic, Luis 1958
Fréquences de Barcelone 1997 Verandi, Mario 1960
fugitives voix 1997 Teruggi, Daniel 1952
Geofonía 1997 Belloc, Enrique 1936
Gritos 1997 Garzón, Eleazar 1948
Haiku 1997 Vázquez, Osvaldo 1956
La estructura 1997 Loudet, Pablo 1969
Las formas del silencio 1997 Minsburg, Raúl 1965
Metamorfosis 1997 Miraglia, Daniel 1958
Noche y Fuego 1997 Ochoa, Pedro 1968
Objetos Reencontrados 1997 Belloc, Enrique 1936
Overture (in memoriam T.A.T.) 1997 Garavaglia, Javier 1960
Portraits témoins 1997 Mary, Mario Marcelo 1961
sin título : obertura para Omobramu 1997 Rojas, Luis 1960
Sons 1997 Vázquez, Osvaldo 1956
Tangata vocale 1997 Campana, José Luis 1949
The shining space 1997 Teruggi, Daniel 1952
Tiempos virtuales 1997 Rapp, Jorge 1946
Toco Madera 1997 Pampin, Juan 1967
Tus palabras cercanas 1997 Polonuer, Fernando 1964
Un romance en tiempo de candombe 1997 Fiore, Héctor 1953
Una esquina de la eternidad 1997 Mihovilcevic, Luis 1958
387
Words through the Worlds 1997 Dal Farra, Ricardo 1957

... soretes de punta 1998 Keller, Damián 1966
Agon 1998 Vaggione, Horacio 1943
Apenas insinuado 1998 Villar, Jorge 1937
Iglesias-Rossi,
Ascension : Las Tierras Nuevas 1998 Alejandro 1960
Atomización de Tangos 1998 Calmens, Claudio 1962
Au-delà du miroir 1998 Zimbaldo, Daniel 1955
Blanco de Zinc 1998 Varchausky, Nicolás 1973
Breve reseña sobre los sueños, el vacío
y la enfermedad 1998 Polonuer, Fernando 1964
Cómeme, bébeme 1998 Loudet, Pablo 1969
Días Después... 1998 Minsburg, Raúl 1965
Dos visiones apresuradas de la misma
cosa 1998 Rojas, Luis 1960
El Cementerio Marino 1998 Szewach, Julieta 1971
El Doble 1998 Sonora
El rancho 1998 Fiore, Héctor 1953
Emulaciones 1998 Luna, Fabián 1963
Esculturas para tocar 1998 Fiore, Héctor 1953
Estudio para cinta y guitarra eléctrica 1998 Loudet, Pablo 1969
Etoiles Liquides 1998 Gervasoni, Arturo 1962
Etoiles Liquides [tape part only] 1998 Gervasoni, Arturo 1962
Everlast 1998 Alarcón, César 1972
gl 1998 Solare, Juan María 1966
Hilo de Marfil 1998 Candia, Cecilia 1959
images symphoniques 1998 Teruggi, Daniel 1952
La cacerola 1998 Rojas, Luis 1960
388
Malkut 1998 Martinez, Federico 1968

Marina (de un tiempo de verano) 1998 Serra, Luis Maria 1942
Monalisa Overdrive II 1998 Miraglia, Daniel 1958
Nubwaora 1998 Garzón, Eleazar 1948
Objets croisés II 1998 Mary, Mario Marcelo 1961
Oktubre 1998 Schmilovich, Sergio 1959
On the liquid edge [fragment] 1998 Dal Farra, Ricardo 1957
Refugio y temblor 1998 Fernandez, Mariano 1974
Río de los pájaros 1998 1999 Ferreyra, Beatriz 1937
Rugosidades en los pliegues de Oniria 1998 1999 Garzón, Eleazar 1948
Shaguir 1998 Fumarola, Martín 1966
T.A.T. (A Man's life) 1998 Garavaglia, Javier 1960
Tan go zando 1998 Fiore, Héctor 1953
Tani, Tani, La balada del sagrado
demandante 1998 Mihovilcevic, Luis 1958
Verano del 98 1998 Villar, Jorge 1937
Viendo 1998 Galperín, Miguel 1972
A Ana-Sequenzia para cinta y melódica 1999 Mihovilcevic, Luis 1958
Actions 1999 Poblete, Sergio 1959
Assurancetourix 1999 Solare, Juan María 1966
Blanco de Titanio 1999 Varchausky, Nicolás 1973
Carcajadas Ajadas III 1999 Pensado, Andrea 1965
Cientos de voces 1999 Minsburg, Raúl 1965
Como una luna en el agua 1999 Fernandez, Mariano 1974
continentalia 1999 Mataloni, José 1965
Czekam na odpowiedz 1999 Fiore, Héctor 1953
De objetos y desvíos 1999 Castillo, Graciela 1940
Desnudo de mujer sobre sofá azul 1999 Ventura, Ricardo 1955
Eili 1 1999 Calmens, Claudio 1962
389

El Escrache 1999 Keller, Damián 1966
El nombre 1999 Martinez, Federico 1968
Eleas 1999 Garzón, Eleazar 1948
Entre la noche y el océano 1999 Pérez Miró, Ricardo 1952
Estudios Sinfónicos I 1999 Miraglia, Daniel 1958
Hambre Hombre 1999 Causa, Emiliano 1970
Hulasa 1999 Fiore, Héctor 1953
Karawane 1999 Alarcón, César 1972
La Espera 1999 Loudet, Pablo 1969
La ida hacia abajo de la tierra de la Colectivo de Creación
tarde 1999 Sonora
La Varsovia 1999 Varchausky, Nicolás 1973
Las gárgolas invisibles 1999 Fernandez, Mariano 1974
Llanuras 1999 Loudet, Pablo 1969
LuzazuL 1999 Schachter, Daniel 1953
On Swings and Folds 1999 Nillni, Ricardo 1960
ontem (1999-I) 1999 lanza, alcides 1929
ontem [tape part only] 1999 lanza, alcides 1929
Organismos Sonoros 1999 Causa, Emiliano 1970
Palabras 1 1999 Keller, Damián 1966
Péripéties pour pardessus de viole et
charango 1999 Fiore, Héctor 1953
Poppekstive 1999 Garavaglia, Javier 1960
Pour le piano (fin de siglo) 1999 Mihovilcevic, Luis 1958
Río de los pájaros azules 1999 2000 Ferreyra, Beatriz 1937
Río de los pájaros escondidos 1999 2000 Ferreyra, Beatriz 1937
SC 1999 2000 Fumarola, Martín 1966
390
Scatt 1999 Mihovilcevic, Luis 1958

Solidità della Nebbia 1999 2000 Solare, Juan María 1966
Syrinx según Eleazar 1999 Garzón, Eleazar 1948
The Breaking of the Scream 1999 Halac, José 1962
Tiempos imaginarios 1999 Minsburg, Raúl 1965
Tres momentos 1999 2000 Rapp, Jorge 1946
Tunes 1999 Fiore, Héctor 1953
Variaciones negras 1999 Rojas, Luis 1960
Viejo océano 1999 Schmilovich, Sergio 1959
Wiersze na flet 1999 Fiore, Héctor 1953
¿Qué haré cuando esto termine? : ¿...? 2000 Alcaráz, Gustavo
Aarhus 2000 Mary, Mario Marcelo 1961
Alma mía 2000 Castillo, Graciela 1940
alma mula 2000 Sonora
Ambiance 2 2000 Vázquez, Osvaldo 1956
Argumentum ex cracoviensi 2000 Fiore, Héctor 1953
AsÍ ... 2000 Campana, José Luis 1949
Bestiario* 2000 Alarcón, César 1972
de áncoras : algo sobre Julio Cortazar 2000 Alcaráz, Gustavo
Diabolus Urbanus 2000 2001 Naón, Luis 1961
Dinámicas Expansivas 2000 Luna, Fabián 1963
Disritmia 2000 Villar, Jorge 1937
Ecos del Proceso Sonoro de K 2000 Candia, Cecilia 1959
El caminante 2000 Ochoa, Pedro 1968
El regreso 2000 Kröpfl, Francisco 1931
El vuelo 2000 Kröpfl, Francisco 1931
Elefante 2000 Rojas, Luis 1960
En el comienzo fue la Palabra 2000 Miraglia, Daniel 1958
391
Entre 2 mundos 2000 Biffarella, Gonzalo 1961

Estacionarias 2000 Romeo, Ernesto 1968
Estoy así ... 2000 Causa, Emiliano 1970
Evil Fruit 2000 Verandi, Mario 1960
Fragmentación e Interferencia 2000 Causa, Emiliano 1970
Germinal 2000 2001 Loudet, Pablo 1969
Granular Song 2000 Garavaglia, Javier 1960
Improvisación 2000 Sonora
La Bonaerense / La Federal 2000 Varchausky, Nicolás 1973
Las criaturas de orlEGm 2000 Garzón, Eleazar 1948
Líneas y puntos de otro tiempo 2000 Schachter, Daniel 1953
Manchas 2000 Allende, Eduardo
Mayo 2000 Mihovilcevic, Luis 1958
Pequeños Diseños Sonoros 2000 De Armas, Ricardo 1957
piazzollage 2000 Mataloni, José 1965
Pieza electroacústica N* 1 (Síntesis) 2000 Catalano, Julio César
Plastic Water 2000 Verandi, Mario 1960
Presencias Reales 2000 Miraglia, Daniel 1958
primera carta 2000 Mataloni, José 1965
tiempo dos 2000 Mataloni, José 1965
Tres Epistolas: del secreto de las alas Iglesias-Rossi,
ocultas a la luz del sol de medianoche 2000 Alejandro 1960
Tríptico de Bahía Blanca 2000 Belloc, Enrique 1936
24 variations 2001 Vaggione, Horacio 1943
Acecho, Persecución y Muerte 2001 Causa, Emiliano 1970
Adivinanza 2001 Mataloni, José 1965
Angelus I 2001 Gervasoni, Arturo 1962
Angelus II 2001 Gervasoni, Arturo 1962
392
Angelus III 2001 Gervasoni, Arturo 1962

Calvario 2001 2003 Alarcón, César 1972
Circus 2001 Gervasoni, Arturo 1962
desiertos 2001 Alcaráz, Gustavo
Dos Discursos 2001 Causa, Emiliano 1970
Efecto Tango 2001 2002 Schachter, Daniel 1953
Entre sueños 2001 Minsburg, Raúl 1965
Estudios Sinfónicos II 2001 Miraglia, Daniel 1958
evolución 2001 Schmilovich, Sergio 1959
FlaX 2001 2002 Schachter, Daniel 1953
Ghosts 2001 Villar, Jorge 1937
Interieur 2001 Gervasoni, Arturo 1962
Jazz't for Miles 2001 Ferreyra, Beatriz 1937
La ba-balle du chien-chien à la mé-
mère 2001 Ferreyra, Beatriz 1937
La Noche en que los Peces Flotaron 2001 Mandolini, Ricardo 1950
Magma 2001 Mataloni, José 1965
Música desilusionada 2001 Rojas, Luis 1960
Música para muestras N* 1 2001 Catalano, Julio César
Ofrenda 2001 Castillo, Graciela 1940
Panther 2001 Solare, Juan María 1966
Patio 2001 Yaya, Gabriela 1975
Pequeño Poema 2001 Villar, Jorge 1937
Pieza electroacústica N* 2 2001 Catalano, Julio César
Plainte 2001 Gervasoni, Arturo 1962
puerta : primera parte del cosmos 2001 Alcaráz, Gustavo
quien me diese alas como de paloma 2001 Martinez, Patricia 1973
recuerda : el cello también puede hacer 2001 Alcaráz, Gustavo
393
bellas melodías
Sortilegios 2001 Ferpozzi, Carlos A. 1937
SSSSCHCHS 2001 Gervasoni, Arturo 1962
Vivencias 2001 Ferreyra, Beatriz 1937
Voi ch'intrate 2001 Solare, Juan María 1966
Was a saW 2001 Solare, Juan María 1966
...como rocas al sol (2002-V) [tape part
011220 2002 De Armas, Ricardo 1957
Accessus 2002 Luna, Fabián 1963
Analogías Nro. 1 2002 Uslenghi, Federico
aXions (2002-II) 2002 lanza, alcides 1929
aXions (2002-II) [tape part only] 2002 lanza, alcides 1929
Back to the guitar 2002 Alarcón, César 1972
Cantos de antes 2002 Ferreyra, Beatriz 1937
Correspondencias 2002 Poblete, Sergio 1959
Dale que va! 2002 Pensado, Andrea 1965
Die Arcana (Tarot I) 2002 Mataloni, José 1965
El otro lado 2002 Garzón, Eleazar 1948
El Sueño del Gallo 2002 Mataloni, José 1965
Equinoccio 2002 Garzón, Eleazar 1948
escrarcha : segunda parte del cosmos 2002 Alcaráz, Gustavo
expanção (2002-III) 2002 lanza, alcides 1929
expanção (2002-III) [tape part only] 2002 lanza, alcides 1929
Invierno de Plata 2002 Serra, Luis Maria 1942
La edad de la luz 2002 Maglia, Fernando 1954
Les chemins du vent des glaces 2002 2004 Ferreyra, Beatriz 1937
L'ombre du souffle 2002 Gervasoni, Arturo 1962
Mixturas 2002 Grela, Dante 1941
394
Monstruo Mecánico 2002 Mataloni, José 1965

Música para muestras N* 2 2002 Catalano, Julio César
Navidad del Agua 2002 Mataloni, José 1965
Ninth (Music for viola and computer) 2002 Garavaglia, Javier 1960
Ombres Portees 2002 Nillni, Ricardo 1960
Pieza electroacústica N* 3 (Mezcla) 2002 Catalano, Julio César
Primpilipansa 2002 Justel, Elsa 1944
Retorno al fuego 2002 Castillo, Graciela 1940
Sin título 2002 De Armas, Ricardo 1957
aXents (2003-I) 2003 lanza, alcides 1929
aXents (2003-I) [tape part only] 2003 lanza, alcides 1929
c3seg 2003 Rojas, Luis 1960
Ceremonia de sangre y piedra 2003 Fernandez, Mariano 1974
Circundantes en Eco 2003 Gervasoni, Arturo 1962
crescente (evocativa) 2003 Abadi, Sami 1965
crescente (invocativa) 2003 Abadi, Sami 1965
drum phase 2003 Abadi, Sami 1965
El Club de la Calle 42 2003 Villar, Jorge 1937
fantasía 2003 2003 Schmilovich, Sergio 1959
Interruptores 2003 Alarcón, César 1972
kiki 2003 Abadi, Sami 1965
La puerta 2003 De Armas, Ricardo 1957
Le Solfegiste solfegé 2003 Ferreyra, Beatriz 1937
Mi sol menor 2003 Yaya, Gabriela 1975
Moebius 2003 Garzón, Eleazar 1948
Murmureln 2003 Ferreyra, Beatriz 1937
nascente 2003 Abadi, Sami 1965
Next Bach 2003 Gervasoni, Arturo 1962
Pieza electroacústica N* 4 (Mixta) 2003 Catalano, Julio César
395
Pobrecita si me muero 2003 Alcaráz, Gustavo

Signes émergents 2003 Mary, Mario Marcelo 1961
Strauss, clonazepam and young thieves 2003 De Armas, Ricardo 1957
Tierra viva 2003 Ochoa, Pedro 1968
tlön 2003 Abadi, Sami 1965
toshío 2003 Abadi, Sami 1965
vance 2003 Abadi, Sami 1965
voids 2003 Abadi, Sami 1965
Ya ... una versión 2003 Espinosa, Susana
7777222448822337778 2004 De Armas, Ricardo 1957
Caños 34 2004 De Armas, Ricardo 1957
Gotas caen 2004 Martinez, Patricia 1973
Las estrategias fatales 2004 De Armas, Ricardo 1957
Los relojes de Dalí 2004 De Armas, Ricardo 1957
TOC (trastorno obsesivo compulsivo) 2004 De Armas, Ricardo 1957
Transvolución 2004 Mataloni, José 1965
1ºdemulticarr undated Pensado, Andrea 1965

2ffts+RM undated Pensado, Andrea 1965
Alerta, peligro... planeta azul undated Buiani, Elena 1956
Eili Eili undated Calmens, Claudio 1962
Etnográficas I undated Cozzi, Daniel 1949
EVENT 1 undated Pensado, Andrea 1965
Futura undated Chab, Gustavo 1964
Impresiones No. 1 undated Gonzalez, Marcelo
Impresiones No. 1 [tape part only] undated Gonzalez, Marcelo
Inflexiones undated Ferrari, Andrés 1971
La ida undated Sad, Jorge L. 1959
La llave de cristal undated Zimbaldo, Daniel 1955
396
Le cri etouffé undated Zimbaldo, Daniel 1955

NASALc/banquetes undated Pensado, Andrea 1965
O tempo - A condena undated Edelstein, Oscar 1953
Paisaje nocturno undated Cutaia, Carlos 1941
Ritual of the Rose undated Zimbaldo, Daniel 1955
397
Bolivia
Table 13. Musical compositions created by Bolivian composers

Date of
Date of creation
Composition Composer birth
CM-OP1 1968 Pozadas, Florencio 1940
Bolivianos...! 1973 Villalpando, Alberto 1942
Awasqa 1986 Prudencio, Cergio 1955
Soundfences 1989 Alandia Canipa, Edgar 1950
Desde el jardín de Morador 1990 Villalpando, Alberto 1942
Silent Towers 1990 Fernandez, Agustin 1958
Undfen 1990 Alandia Canipa, Edgar 1950
De los Elementos 1991 Villalpando, Alberto 1942
Sexta Mayor 1992 Suárez, Nicolás 1953
Paisaje Sonoro Nocturno I 1993 Ibañez, Jorge 1960
Paisaje Sonoro Nocturno II 1993 Ibañez, Jorge 1960
Es Zas 1993 Claros Brasil, Sergio 1963
García, Oscar 1960
Chica Aruma 1994 Suárez, Nicolás 1953
Intiyana 1994 Parrado, Javier 1964
...sottili canti invisibili 1995 Alandia Canipa, Edgar 1950
Estudio Ocarino 1998 Ibañez, Jorge 1960
Irupampa 2002 García, Oscar 1960
Pu Choroy Piré undated Namuncurá, Juan 1962

398
Brazil
Table 14. Musical compositions created by Brazilian composers

Date of
birth
Sibemol 1956 Carvalho, Reginaldo 1932
Pequena Peça para Mi bequadro e
Harmônicos 1961 Antunes, Jorge 1942
Valsa Sideral 1962 Antunes, Jorge 1942
Música para Varreduras de Freqüências 1963 Antunes, Jorge 1942
Fluxo Luminoso para Sons Brancos I 1964 Antunes, Jorge 1942
Contrapunctus contra Contrapunctus 1965 Antunes, Jorge 1942
Três Estudos Cromofônicos 1966 Antunes, Jorge 1942
Canto Selvagem 1967 Antunes, Jorge 1942
Intermitências II 1967 Santoro, Claudio 1919
Canto do Pedreiro 1968 Antunes, Jorge 1942
Movimiento Browniano 1968 Antunes, Jorge 1942
Auto-Retrato sobre Paisaje Porteño 1969 1970 Antunes, Jorge 1942
Cinta Cita 1969 Antunes, Jorge 1942
Historia de un Pueblo por Nacer 1970 Antunes, Jorge 1942
Mutationen III 1970 Santoro, Claudio 1919
Para nascer aqui 1971 Antunes, Jorge 1942
Un-X-2 1971 Neves, José Maria 1943
FlautatualF 1972 Antunes, Jorge 1942
Source 1974 Antunes, Jorge 1942
Vivaldia MCMLXXV 1975 Antunes, Jorge 1942
399
Suite Electrônica 1979 Richter, Frederico 1932

AI YUJIN 1980 Richter, Frederico 1932
Ecco Study 1980 Richter, Frederico 1932
Introdução e Elegia por um Herói
Moribundo 1980 Richter, Frederico 1932
Sonhos e Fantasia 1980 Richter, Frederico 1932
Study Spectrum Shaper 1980 Richter, Frederico 1932
Electroacoustic Music 1981 Richter, Frederico 1932
Electronic Study 1981 Richter, Frederico 1932
Mean Time Far Away 1981 Richter, Frederico 1932
Metamorfoses 1981 Richter, Frederico 1932
Di-Stances 1982 Dantas Leite, Vânia 1945
Sound 1982 Csekö, Luis Carlos 1945
Cyclone 1983 Mannis, José Augusto 1958
Coelho de Souza,
Chroma 1986 Rodolfo 1952
PAN: Laceramento della Parola
(Ommagio a Trotskij) 1986 1988 Menezes, Flo 1962
Words in Transgress 1986 1995 Menezes, Flo 1962
Coelho de Souza,
Cinco Canções Japonesas 1987 Rodolfo 1952
Sounds from the sacrifice of Iphigenia 1987 de Oliveira, Jocy 1936
Synergie 1987 Mannis, José Augusto 1958
Contextures I (Hommage à Berio) 1988 1989 Menezes, Flo 1962
Profils écartelés 1988 Menezes, Flo 1962
Duorganum II 1989 Mannis, José Augusto 1958
Voice Solo 1989 Sukorski, Wilson 1956
Berocan 1990 1996 Manzolli, Jônatas 1961
Contesture III - Tempi Reali, Tempo 1990 Menezes, Flo 1962
400
Virtuale
Contesture IV - Monteverdi Altrimenti 1990 1993 Menezes, Flo 1962
Electroacoustic Samba I 1990 1991 Miranda, Eduardo Reck 1963
Coelho de Souza,
Metropolis 1990 Rodolfo 1952
Rescala, Luiz Augusto
Ponto, Linha e Plano 1990 (Tim) 1961
3 Fragmentos 1991 Mannis, José Augusto 1958
Reflexos 1991 Mannis, José Augusto 1958
Reflexos [tape part only] 1991 Mannis, José Augusto 1958
Coelho de Souza,
Chuva Oblíqua 1992 Rodolfo 1952
Electroacoustic Samba II 1992 Miranda, Eduardo Reck 1963
Noises 1992 Miranda, Eduardo Reck 1963
O Demiurgo 1992 Mannis, José Augusto 1958
Turbulências 1992 Manzolli, Jônatas 1961
A Dialética da Praia 1993 Menezes, Flo 1962
Agenda pour un petit futur 1993 Antunes, Jorge 1942
Deep Resonance 1993 Miranda, Eduardo Reck 1963
Interlude No.1 pour Olga 1993 Antunes, Jorge 1942
Cicchelli Velloso,
Multiple Reeds 1993 1994 Rodrigo 1966
Planos 1993 1994 Pinheiro, Luis Roberto 1960
Technicki I 1993 Sukorski, Wilson 1956
Technicki II 1993 Sukorski, Wilson 1956
Trem-Pássaro 1993 Garcia, Denise 1955
Um dia feito d'água 1993 Garcia, Denise 1955
Vozes da Cidade 1993 Garcia, Denise 1955
Campos de Pássaros - Messiaen 1994 Menezes, Flo 1962
401
Revisitado Ferraz, Silvio 1959

For Cello 1994 de Oliveira, Jocy 1936
Ida 1994 de Oliveira, Jocy 1936
Ida 1994 de Oliveira, Jocy 1936
La loba 1994 de Oliveira, Jocy 1936
Milk of love 1994 de Oliveira, Jocy 1936
Mythical chants 1994 de Oliveira, Jocy 1936
Nemietoia 1994 Caesar, Rodolfo 1950
Olivine Trees 1994 Miranda, Eduardo Reck 1963
Parcours de l'entité 1994 Menezes, Flo 1962
Sforzatto/Piano 1994 Dantas Leite, Vânia 1945
Textórias 1994 Kampela, Arthur 1960
The woman with the golden hair 1994 de Oliveira, Jocy 1936
Triflauto Solilóquio 1994 Lintz Maues, Igor 1955
Women dreams 1994 de Oliveira, Jocy 1936
/cartas/rs95.car 1995 Arcela, Aluízio 1948
Ballade Dure 1995 Antunes, Jorge 1942
Electroacoustic Samba X 1995 Miranda, Eduardo Reck 1963
Fuzuê 1995 Pinheiro, Luis Roberto 1960
Goma Arábica 1995 Miranda, Eduardo Reck 1963
La beauté indiscrète d'une note violette 1995 Antunes, Jorge 1942
La Prosa dell'uomo 1995 1996 Gorodski, Fábio 1971
Materialma 1995 Pantaleão, Aquiles 1965
Materialma 1995 Pantaleão, Aquiles 1965
Modelagem V 1995 1996 Zampronha, Edson S. 1963
Momento Angular 1995 Caminhoto, Guto 1967
Névoas e Cristais 1995 Manzolli, Jônatas 1961
Noite 1995 Lazzarini, Victor 1969
Piece of Mind 1995 Aguiar, Celso 1957
402
Vitraux MCMXCV 1995 Antunes, Jorge 1942

Amazing Amazon 1996 Sukorski, Wilson 1956
Atlas Folisipelis 1996 1997 Menezes, Flo 1962
InterAto 1996 Iazzetta, Fernando 1966
Nuages 1996 1997 Cintra, Celso 1969
Refulgere Urbem 1996 1997 Garcez, Luciano 1972
A caminho da scola / Jardim de Tragtenberg, Livio 1961
Infância / Escola Normal 1997 Sukorski, Wilson 1956
A cidade desperta 1997 Tragtenberg, Livio 1961
Sukorski, Wilson 1956
Acqua Viva 1997 1998 Manzolli, Jônatas 1961
Aquele que ficou sozinho 1997 Guigue, Didier 1954
Árvore (after Walter Smetak) 1997 Sukorski, Wilson 1956
Butantan / No trabalho, na sorte 1997 Tragtenberg, Livio 1961
Círculos ceifados 1997 Caesar, Rodolfo 1950
Concreta 1997 Pantaleão, Aquiles 1965
Crowd 1997 Iazzetta, Fernando 1966
Entrevales 1997 Kafejian, Sérgio 1967
EXPASSVM 1997 de Campos, Ignacio 1966
O que acontece embaixo da cama Coelho de Souza,
enquanto Janis está dormindo? 1997 Rodolfo 1952
Olhos de Vampa 1997 Sukorski, Wilson 1956
PerCurso 1997 Iazzetta, Fernando 1966
PerCurso 1997 Iazzetta, Fernando 1966
Sinfonias 1997 1998 Menezes, Flo 1962
TransFormantes III 1997 Menezes, Flo 1962
Vox Victimae 1997 Guigue, Didier 1954
Cognitive Dissidents 1998 Sukorski, Wilson 1956
403
Coelho de Souza,
Colorless Green Ideas Sleep Furiously 1998 Rodolfo 1952
CriaTerra 1998 Sukorski, Wilson 1956
Dru 1998 Iazzetta, Fernando 1966
Hombres tristes y sin título rodeados de
pájaros en noche amarilla, violeta y
naranja 1998 Antunes, Jorge 1942
Mecânica Popular 1998 Sukorski, Wilson 1956
Naked Diva 1998 de Oliveira, Jocy 1936
Three Inconspicuous Settings 1998 Pantaleão, Aquiles 1965
Coelho de Souza,
Clariagua 1999 Rodolfo 1952
Corda e Cabaça 1999 Iazzetta, Fernando 1966
Fragmentacion 1999 Zampronha, Edson S. 1963
Grain Streams 1999 Miranda, Eduardo Reck 1963
Coelho de Souza,
Improviso em forma de pássaro preto 1999 Rodolfo 1952
in respect of ordinary things 1999 Pantaleão, Aquiles 1965
Infobodies 1999 Garcia, Denise 1955
Modelagem XI 1999 Zampronha, Edson S. 1963
When I drift into my thoughts 1999 Corrêa, Jaime
A - Telefone + Beat leve + J - Janela 2000 Tragtenberg, Livio 1961
Caribal 2000 Mannis, José Augusto 1958
Coelho de Souza,
Concerto para Computador e Orquestra 2000 Rodolfo 1952
Etnias 2000 Manzolli, Jônatas 1961
Harmonia das Esferas 2000 Menezes, Flo 1962
Longas noite II + Tensao II 2000 Tragtenberg, Livio 1961
404

Q1 2000 Mannis, José Augusto 1958
Sala / quarto / Raí 2000 Tragtenberg, Livio 1961
Tanque / fim 2000 Tragtenberg, Livio 1961
Trama Nudo Flujo 2000 Zampronha, Edson S. 1963
Vachagotta's waiting 2000 Pantaleão, Aquiles 1965
Mármore 2001 Zampronha, Edson S. 1963
Objetos Afetos 2001 Manzolli, Jônatas 1961
Par Lui 2 2001 Garcia, Denise 1955
Caminhantes 2002 Manzolli, Jônatas 1961
Danças & Intermezzi 2002 Corrêa, Jaime
O jardim dos caminhos que se bifurcam 2002 Corrêa, Jaime
Olhos d'água 2002 2003 Manzolli, Jônatas 1961
Tangerina 2002 Iazzetta, Fernando 1966
Mural 2003 Manzolli, Jônatas 1961
do Valle, Raúl 1936
Non Sequitur 2003 Manzolli, Jônatas 1961
do Valle, Raúl 1936
Fanfarra fúnebre undated de Oliveira, Jocy 1936

Guerra de Almeida,
O Acorrentamento de Prometeu undated Anselmo 1959
Technicki III undated Sukorski, Wilson 1956
Technicki IV undated Sukorski, Wilson 1956
Coelho de Souza,
The Book of Sounds III: Cuica undated Rodolfo 1952
405
Chile
Table 15. Musical compositions created by Chilean composers

Date of
Composition Composer
Date of creation birth
Los Peces 1957 Amenabar, Juan 1922
Variaciones Espectrales 1959 Asuar, José Vicente 1933
Juegos 1966 Becerra-Schmidt, Gustavo 1925
Divertimento 1967 Asuar, José Vicente 1933
Volveremos a las montañas 1967 Brncic, Gabriel 1942
Guararia Repano 1968 Asuar, José Vicente 1933
Klesis 1968 Amenabar, Juan 1922
Batucada 1969 Brncic, Gabriel 1942
Sueño de un niño 1970 Amenabar, Juan 1922
Amacata 1972 Amenabar, Juan 1922
Ludus Vocalis 1973 Amenabar, Juan 1922
Affaires des Oiseaux 1976 Asuar, José Vicente 1933
Chile fértil provincia 1976 Brncic, Gabriel 1942
Contratempo-Sensatempo 1976 Amenabar, Juan 1922
Juegos 1976 Amenabar, Juan 1922
Amanecer 1977 Asuar, José Vicente 1933
Cirrus 1978 Vera-Rivera, Santiago 1950
Elegía 1982 Asuar, José Vicente 1933
Polifonia de Barcelona 1983 Brncic, Gabriel 1942
Diálogos 1985 Asuar, José Vicente 1933
Clarinen Tres (a Bárbara Brncic
Monsegur) 1986 Brncic, Gabriel 1942
Des’ être (a Oscar Masotta) 1986 Brncic, Gabriel 1942
406
En el jardín 1986 Asuar, José Vicente 1933

En el infinito 1987 Asuar, José Vicente 1933
Interior 1987 Becerra-Schmidt, Gustavo 1925
Astillas de bambú 1989 1994 Martinez Ulloa, Jorge 1953
Composición de 1989 (a Eduardo
Polonio) 1989 Brncic, Gabriel 1942
Fiesta 1989 Cori Traverso, Rolando 1954
La otra concertación 1989 Cáceres, Eduardo 1955
A 1990 1992 Ancarola, Francesca 1968
Vade Retro (a Luigi Nono) 1990 Brncic, Gabriel 1942
Cygnus 1994 Morales Ossio, Cristián 1967
Lovecraft 1994 Cantón Aguirre, Edgardo 1963
Metalmambo 1994 Cáceres, Eduardo 1955
Carrasco Pantoja,
NILNOVISUBSOLE 1994 Fernando 1953
NUD 1994 Mora, Mario 1967
OIREB-A 1994 Holman Grossi, Ernesto 1950
...Que no Desorganitza Cap
Murmuri. (a Joan Brossa) 1995 Brncic, Gabriel 1942
Dos Esbozos Para Antiguos
Instrumentos Electrónicos 1995 Brncic, Gabriel 1942
Golpe de luz 1995 Vergara Solar, Juan Carlos 1969
Sax 1995 Mora, Mario 1967
Las huellas del pequeño venado 1996 1997 Candela, Jose Miguel 1968
Preludio des élémentes 1996 Cantón Aguirre, Edgardo 1963
Saint Michel en carretera nocturna 1996 Cantón Aguirre, Edgardo 1963
RisRas 1997 Morales Ossio, Cristián 1967
Búsqueda y Retorno 1998 Arenas Navarrete, Mario 1953
Jojo 1998 Otondo , Felipe 1972
407
La Casa del Viento 1998 Brncic, Gabriel 1942

Apolo - 23 1999 Lazo, Paola 1969
Attract 1999 Fernández, José Miguel 1973
Attract II 1999 Fernández, José Miguel 1973
Bailecitos con la novia 1999 Cori Traverso, Rolando 1954
Birds in a Cage full of silence 1999 Otondo , Felipe 1972
Clarinet-Concert 1999 Brncic, Gabriel 1942
Coréutica 1999 Brncic, Gabriel 1942
La Música del Cuerpo 1999 Schumacher, Federico 1963
Memoria de los Andes 1999 2000 Cantón Aguirre, Edgardo 1963
Palabras del Sur 1999 Schumacher, Federico 1963
Carrasco Pantoja,
ajar.cl 2000 Fernando 1953
Bajan Gritando Ellos 2000 Candela, Jose Miguel 1968
Gato en el Agua 2000 Schumacher, Federico 1963
Guitar ex Machina 2000 Otondo , Felipe 1972
La violación de Lucrecia 2000 García-Gracia, Cecilia 1968
Leruleru...lá 2000 Cáceres, Eduardo 1955
Nuevamente 2000 Carvallo, Antonio 1972
Shu-Shu 2000 Alvarado, Boris 1962
TD reciclados 2000 Vergara Solar, Juan Carlos 1969
100 Flores 2001 2002 Schumacher, Federico 1963
Dj2 2001 Candela, Jose Miguel 1968
Dj3 2001 Candela, Jose Miguel 1968
Impermanences I 2001 Otondo , Felipe 1972
Los Sueños de Attar 2001 Cantón Aguirre, Edgardo 1963
On the radio, oh, oh, oh 2001 Schumacher, Federico 1963
9dn.13 2002 Fernández, José Miguel 1973
Delta 2002 Candela, Jose Miguel 1968
408
Dual 2002 Fernández, José Miguel 1973

Exzummo 2002 2004 Lazo, Félix 1957
La Sombra del Sonido 2002 Kaplan, Adolfo
TOTTO 2002 Lazo, Paola 1969
TTK : I 2002 Candela, Jose Miguel 1968
TTK : LII 2002 Candela, Jose Miguel 1968
TTK : XLIX 2002 Candela, Jose Miguel 1968
TTK : XLVII 2002 Candela, Jose Miguel 1968
TTK : XXII 2002 Candela, Jose Miguel 1968
Constelaciones 1 2003 Otondo , Felipe 1972
Estrellas Compactas 2003 Schumacher, Federico 1963
Improv. video/music 2003 Lazo, Félix 1957
Les filles du Mara 2003 2004 Lazo, Félix 1957
Objetos Encontrados 2003 Otondo , Felipe 1972
Wérika 2003 García-Gracia, Cecilia 1968
Medusa II [tape part only] 2004 Lazo, Paola 1969
MingaSola I 2004 Schumacher, Federico 1963
Pi 2004 Otondo , Felipe 1972
Zapping Zappa : Homenaje a Frank
Zappa 2004 Otondo , Felipe 1972
Estudio Nocturno undated Rivas, Roque 1975

Ñanco undated García-Gracia, Cecilia 1968
Proteo undated Martinez Ulloa, Jorge 1953
Tinku undated Martinez Ulloa, Jorge 1953
Una flauta en el camino undated Asuar, José Vicente 1933
409
Colombia
Table 16. Musical compositions created by Colombian composers

Date of
birth
Ensayo Electrónico 1965 González Zuleta, Fabio 1920
Syrigma I 1966 Atehortúa, Blas Emilio 1933
Oposición-Fusión 1968 Nova, Jacqueline 1935
Estudio Electrónico 1971 Feferbaum, David
Creación de la Tierra 1972 Nova, Jacqueline 1935
Omaggio a Catullus 1972 1974 Nova, Jacqueline 1935
El Paseo Bolivar : Música por
computador para el oyente
desprevenido 1988 Reyes, Juan 1962
Catenaria 1989 1990 Posada, Andrés 1954
Las Meninas 1991 Reyes, Juan 1962
Requiem sobre una muerte
imaginaria 1991 1999 Peralta, Catalina 1963
Trípode 1992 Carbo, Guillermo 1963
Rocas 1993 Reyes, Juan 1962
Boca de Barra : An Infraacoustical
Landscape 1994 Reyes, Juan 1962
Esquicios 1994 1998 Bejarano, Mauricio 1955
Suite Logique 1994 Triana, Alba Fernanda
Henao, Luis Fernando
Cuellar, Lucio
A Armero 1995 Edilberto 1954
Recitativo IIb 1995 1997 Peralta, Catalina 1963
Suspensión 1 1995 1997 Acosta, Rodolfo 1970
410
Choi Hung 1996 Reyes, Juan 1962

Choi-Hung 1996 Reyes, Juan 1962
Equus & Resonancias 1996 Reyes, Juan 1962
Estudio de ruidos y campanas 1996 Toro, Germán 1964
Ficciones 1996 1997 Toro, Germán 1964
García Piedrahíta,
... del imperativo ... 1997 1998 Roberto 1958
Aire 1997 1998 Toro, Germán 1964
D'or et de lumière 1997 2000 Parra, Arturo 1958
Bejarano, Mauricio 1955
Espacios de tiempo 1997 Romano, Ana María 1971
Recitativo elettronico II 1997 Peralta, Catalina 1963
Soliloquio del retorno 1997 1999 Peralta, Catalina 1963
Straw-berri 1997 Reyes, Juan 1962
Cuellar, Lucio
Androide 1998 Edilberto 1954
La basilique fantôme 1998 2000 Parra, Arturo 1958
Roy, Stéphane
L'envers du temps 1998 2000 Parra, Arturo 1958
Gobeil, Gilles
Sol y sombra.,.. L'espace des Parra, Arturo 1958
espectres 1998 2000 Dhomont, Francis
Soledad 1998 2000 Parra, Arturo 1958
Gobeil, Gilles
Suite para flauta, trompeta, dos
percusionistas, violoncello, piano y Cuellar, Lucio
tape 1998 Edilberto 1954
Sygfrydo 1998 Reyes, Juan 1962
Inventario I 1999 2003 Toro, Germán 1964
411
Inventario III 1999 Toro, Germán 1964

ppP 1999 2000 Reyes, Juan 1962
Rothko II : Segundo homenaje a Mark
Rothko 1999 2000 Toro, Germán 1964
Carrera 7a. 2000 Bejarano, Mauricio 1955
De Igitur o la locura de Elbehnon:
Estudio Antiguo - (Introducción) 2000 2001 Peralta, Catalina 1963
Domingo 2000 Bejarano, Mauricio 1955
Fluidos 2000 Bejarano, Mauricio 1955
Hora 0:00 2000 Bejarano, Mauricio 1955
La Estación 2000 Bejarano, Mauricio 1955
Parque de Usaquén 2000 Bejarano, Mauricio 1955
Plaza de Bolívar 2000 Bejarano, Mauricio 1955
Reloj final 2000 Bejarano, Mauricio 1955
Rutas del agua 2000 Bejarano, Mauricio 1955
Silencio No.1 ... BLANCO 2000 Bejarano, Mauricio 1955
Silencio No.2 ... AZUL 2000 Bejarano, Mauricio 1955
Silencio No.3 ... NEGRO 2000 Bejarano, Mauricio 1955
Silencio No.4 ... VIOLETA 2000 Bejarano, Mauricio 1955
Silencio No.5 ... PLATEADO 2000 Bejarano, Mauricio 1955
Tiempo de agua 2000 Bejarano, Mauricio 1955
Tren de paso 2000 Bejarano, Mauricio 1955
Viernes Santo 2000 Bejarano, Mauricio 1955
Oranged (lima-limón) 2001 Reyes, Juan 1962
Wadi Musa (or the Monteria Hat) 2001 Reyes, Juan 1962
Chryseis 2002 Reyes, Juan 1962
Efervessencia 2002 Muñoz, Ramiro 1977
Signature work : Variación en cinco Cuellar, Lucio
objetos sonoros 2003 Edilberto 1954
412
Cuellar, Lucio
Tierra Vieja, Tierra Nueva 2003 Edilberto 1954
Abierto 2004 Romano, Ana María 1971
Amarilla al sol 2004 Carreño, Juan Pablo 1978
Cambuche 2004 Zea, Daniel 1976
Needle Battle 2004 Cárdenas, Alexandra 1976
Pieza electroacústica No. 2 2004 García, Jorge 1975
Responsorio 2004 Lozano, Santiago 1976
Todas las noches, el cielo arde sobre
Bogotá. 2004 Acosta, Rodolfo 1970
Cuellar, Lucio
Variaciones en seis objetos sonoros 2004 Edilberto 1954
Vivo 2004 Leguizamón, Daniel 1979
413
Costa Rica
Table 17. Musical compositions created by Costa Rican composers

Date of
birth
Fotos 1 1997 Castro, Otto 1972
Espirales 1999 Castro, Otto 1972
TV 1 1999 Castro, Otto 1972
Jardín Tóxico 2000 Castro, Otto 1972
Mala Fe 2000 Castro, Otto 1972
Encuentros Televisivos 2001 Castro, Otto 1972
BSTRFeDóN 2002 Autoperro (Arce - Ordoñez)
HuMDL 2002 Autoperro (Arce - Ordoñez)
Olimpia 2002 Herra, Luis Diego 1952
TXaLPART 2002 Autoperro (Arce - Ordoñez)
ZaRGZS 2002 Autoperro (Arce - Ordoñez)
El pescador y la muerte 2003 Herra, Luis Diego 1952
Señales 2003 Herra, Luis Diego 1952
Arquetipos Marinos (Tejiendo
lenguajes ancestrales) 2004 Castro, Otto 1972
Rinocerontes 2004 Herra, Luis Diego 1952
Zurquí 2004 Herra, Luis Diego 1952
414
Cuba
Table 18. Musical compositions created by Cuban composers

Date of
birth
Ensamble VI 1963 Blanco, Juan 1919
Estructuras 1963 Blanco, Juan 1919
Interludio con Máquinas 1963 Blanco, Juan 1919
Interpolation 1965 de la Vega, Aurelio 1925
La Partida Viviente 1967 Blanco, Juan 1919
Concierto for two pianos, percussion,
tape and audience 1968 Barroso, Sergio 1946
Contrapunto Espacial No. 3 1969 Blanco, Juan 1919
Tangents 1973 de la Vega, Aurelio 1925
Para-Tangents 1973 de la Vega, Aurelio 1925
Olep ed Arudamot 1974 de la Vega, Aurelio 1925
Chile Vencerá 1975 Blanco, Juan 1919
Galaxia M-50 1975 Blanco, Juan 1919
Yantra VI 1976 1979 Barroso, Sergio 1946
Inflorescencia 1976 de la Vega, Aurelio 1925
Contrapunto Espacial No. 6 1976 Blanco, Juan 1919
Yantra IX 1979 Barroso, Sergio 1946
Extrapolation 1981 de la Vega, Aurelio 1925
Picassianas I: Homenaje al Centenario
de Picasso 1981 Ortega, Jesús 1935
La tierra que nos vio nacer 1981 Rodríguez, Fernando 1958
En un abrazo de luz 1981 Rodríguez, Fernando 1958
Yantra X 1982 Barroso, Sergio 1946
415
Les Barricades Mystérieuses : Variations

on a Rondo by Couperin 1982 1985 Barroso, Sergio 1946
Pirandelliana 1983 Piñera, Juan 1949
El otro huevo de la serpiente 1983 Rodríguez, Fernando 1958
Aguas Territoriales 1983 Fariñas, Carlos 1934
Primer Día de Mayo 1984 Fariñas, Carlos 1934
Tres de Dos 1984 Piñera, Juan 1949
Alejandro, Edesio 1958
Halley 86 1984 Roloff, Julio 1951
Ritual 1984 Blanco, Juan Marcos 1953
Cirkus Toccata 1984 Blanco, Juan 1919
Cirkus Toccata 1984 Blanco, Juan 1919
Ireme 1985 1979 Barroso, Sergio 1946
Caballos 1985 Blanco, Juan Marcos 1953
Asonante 1985 de la Vega, Aurelio 1925
Invocación (Por la Paz Mundial) : a Leo
Brower 1985 Ortega, Jesús 1935
Picassianas III : a Juan Blanco 1985 Ortega, Jesús 1935
Tañidos 1985 Blanco, Juan 1919
Pámpano y Cascabel 1985 Piñera, Juan 1949
Pámpano y Cascabel [tape part only] 1985 Piñera, Juan 1949
Fanfarria de Primavera 1986 Ortega, Jesús 1935
Espacios V 1986 Blanco, Juan 1919
Suite erótica 1986 Blanco, Juan 1919
Del espectro nocturno [tape part only] 1986 Piñera, Juan 1949
Encuentro 1986 Rodríguez, Fernando 1958
Espacios II 1986 Blanco, Juan 1919
En Febrero Mueren las Flores 1987 Barroso, Sergio 1946
Soledad 1987 1988 Barroso, Sergio 1946
416
Ella (Pastorale) 1987 Blanco, Juan 1919

Germinal 1987 Piñera, Juan 1949
Canzona 1988 Barroso, Sergio 1946
Son Mac Plus 1988 Ortega, Jesús 1935
Espacios VI 1988 Blanco, Juan 1919
Music for Different Timbres 1989 Rodríguez, Armando 1951
Texturas Americanas I 1989 Blanco, Juan 1919
Retratos I (photographs I) 1989 Garcia, Orlando J. 1954
La Fiesta 1989 Barroso, Sergio 1946
1789-1989 : Homenaje al Bicentenario
de la Revolucion Francesa 1989 Blanco, Juan 1919
Variaciones Americanas 1989 Blanco, Juan 1919
Tema con Variaciones 1989 Blanco, Juan 1919
Espacio Cerrado 1990 Pedroso, Pedro Pablo
Improvisation with Metallic Materials 1990 Garcia, Orlando J. 1954
Sitio sin nombre 1990 Garcia, Orlando J. 1954
Spatial Projection 1990 Rodríguez, Armando 1951
Linear 1990 Rodríguez, Armando 1951
Triangular 1990 Rodríguez, Armando 1951
Progression 1990 Rodríguez, Armando 1951
Occupied Space 1990 Rodríguez, Armando 1951
Piece No. 2 from Three Pieces for
Double Bass and Tape 1990 Garcia, Orlando J. 1954
Tablao 1990 Barroso, Sergio 1946
Music for Nada [tape part only] 1990 Garcia, Orlando J. 1954
Improvisation with Metallic Materials
[tape part only] 1990 Garcia, Orlando J. 1954
417

Metallic images 1991 Garcia, Orlando J. 1954
Cuando el aura es áurea o la muy triste
historia de los ocho minutos con treinta y
ocho segundos 1991 Piñera, Juan 1949
Palmas 1992 Valera, Roberto 1938
From Darkness to Light 1992 Rodríguez, Armando 1951
Crónicas de Ultrasueño 1992 Barroso, Sergio 1946
Sonatada 1992 Barroso, Sergio 1946
Cinco Epitafios : para un
narcotraficante 1992 Blanco, Juan 1919
Cinco Epitafios : para un niño 1992 Blanco, Juan 1919
Cinco Epitafios : para un terrorista 1992 Blanco, Juan 1919
Cinco Epitafios : para un perro 1992 Blanco, Juan 1919
Cinco Epitafios : para un tirano 1992 Blanco, Juan 1919
Paisaje 1992 Blanco, Juan 1919
Treno por las Víctimas del Estrecho de
la Florida 1992 Blanco, Juan 1919
Nexos II: Escenas de Vida 1993 Pedroso, Pedro Pablo
Orbitas Elípticas 1993 Fariñas, Carlos 1934
Período Espacial 1993 Valera, Roberto 1938
A Quiet World 1993 Rodríguez, Armando 1951
Charangas Delirantes 1993 Barroso, Sergio 1946
Viejas Voces 1993 Barroso, Sergio 1946
Loops 1993 Blanco, Juan 1919
Contrastes II 1993 Blanco, Juan 1919
16 repeticiones sobre un temas de J. S.
Bach 1993 Rodríguez, Fernando 1958
418
Paisaje 1994: Música para las

demoliciones 1994 Pedroso, Pedro Pablo
Pérez Velazquez,
Piedras 1994 Ileana 1964
Pérez Velazquez,
Yoruba 1994 Ileana 1964
Pérez Velazquez,
Celia 1994 Ileana 1964
That Day 1994 Rodríguez, Armando 1951
Para Enterrar la Esperanza 1994 Blanco, Juan 1919
S.O.S. 13 de marzo 1994 1995 Blanco, Juan 1919
Variantes II 1994 Blanco, Juan 1919
Pérez Velazquez,
Conversations 1995 Ileana 1964
Pérez Velazquez,
Un ser con unas alas enormes 1995 Ileana 1964
A storm was coming over the quiet pond 1995 Rodríguez, Armando 1951
De dos para uno 1997 Perón, Alain 1969
Opus 18 o de la gota de agua 1997 Piñera, Juan 1949
Moniobra 1998 O'Reilly, Mónica 1975
Canción 1998 Blanco, Juan 1919
Loa del Camino 1999 Valera, Roberto 1938
La primavera del ángel 1999 Escalante, Irina 1977
Como un coro de clarinetes celestiales 1999 Garcia, Orlando J. 1954
Imagenes (Sonidos) Sonoros Congelados 1999 Garcia, Orlando J. 1954
Ajuandejuan 2000 Piñera, Juan 1949
D...efectos 2000 Piñera, Juan 1949
Divertimento 2000 Nuñez, Teresa 1966
El segundo de un compay eterno 2000 O'Reilly, Mónica 1975
419
Mundo Interior 2000 Escalante, Irina 1977

O'Reilly, Mónica 1975
Plegarias 2000? Rodríguez, Fernando 1958
Psss 2000 O'Reilly, Mónica 1975
Separación 2000 2001 Garcia, Orlando J. 1954
Sira Arisu Ira 2000 Escalante, Irina 1977
Bbpino 2001 O'Reilly, Mónica 1975
Canción C: Jesús, amigo, yo siempre
estoy contigo 2001 Blanco, Juan 1919
Congas 2001 Escalante, Irina 1977
Liturgias 2001 Escalante, Irina 1977
Momentum 2001 Escalante, Irina 1977
Un besito a papito 2001 O'Reilly, Mónica 1975
Tres little escenas de Mr. Pérez 2002 O'Reilly, Mónica 1975
420
Dominican Republic
Table 19. Musical compositions created by Dominican composers

Date of
birth
Tangentes 1988 José, Alejandro 1955
Cuatro Estudios para Wind
Controller 1989 José, Alejandro 1955
Pulsar: El Caribe 1991 José, Alejandro 1955
Ecofonía 1992 José, Alejandro 1955
Beyond the Stars 1994 Luna, Ana Margarita
Todo Es Uno 1995 José, Alejandro 1955
Millenium Hope 199? Cucurullo, Dante 1957
Toccatta de mente 1999 José, Alejandro 1955
El Encantador de Aguas 2000 Cucurullo, Dante 1957
Con el Pulso de una Estrella 2002 2003 José, Alejandro 1955
421
Ecuador
Table 20. Musical compositions created by Ecuadorian composers

Date of
birth
Dort wo wir leben 1967 Maiguashca, Mesías 1938
Hör-zu 1969 Maiguashca, Mesías 1938
Ayayayayay 1971 Maiguashca, Mesías 1938
Übungen 1972 1973 Maiguashca, Mesías 1938
Lindgren 1976 Maiguashca, Mesías 1938
... y ahora vamos por aqui ... 1977 Maiguashca, Mesías 1938
Intensidad y Altura 1979 Maiguashca, Mesías 1938
Fermez les yeux S.V.P. 1983 2001 Rodas, Arturo 1954
FMelodies II 1983 1984 Maiguashca, Mesías 1938
Los Ojos de mis Sueños 1984 Luzuriaga, Diego 1955
Patch 13 1984 Estevez, Milton 1947
Apabatapabata 1986 Luzuriaga, Diego 1955
Brasilia 1986 Luzuriaga, Diego 1955
Ludus Spectralis 1986 Luzuriaga, Diego 1955
Apuntes con Refrán 1987 Estevez, Milton 1947
Pythagoras 1987 Luzuriaga, Diego 1955
Sarapangas como vos 1987 Luzuriaga, Diego 1955
moments musicaux 1989 Maiguashca, Mesías 1938
The Wings of Perception II 1989 1992 Maiguashca, Mesías 1938
Zeluob 3 1990 Freire, Pablo 1961
El Oro 1992 Maiguashca, Mesías 1938
Flauta y Viento 1992 Luzuriaga, Diego 1955
Sacateca's Dance 1992 Maiguashca, Mesías 1938
422
Los Amantes 1993 Flores Abad, Eduardo 1960

The Nagual 1993 Maiguashca, Mesías 1938
The Spirit Catcher 1993 Maiguashca, Mesías 1938
The Tonal 1993 Maiguashca, Mesías 1938
Yaravi 1993 Campos, Jorge 1960
Ritmo en el ritmo 1994 Flores Abad, Eduardo 1960
Viento en el Viento 1994 Luzuriaga, Diego 1955
Taleas 1995 1996 Flores Abad, Eduardo 1960
Cantos vivos y cantos rodados 1996 Estevez, Milton 1947
Kon-Tiki 1996 Campos, Jorge 1960
Tiefen 1998 Maiguashca, Mesías 1938
A ras del cuero #3 2001 Flores Abad, Eduardo 1960
Bailecito 2001 Rodas, Arturo 1954
El llanto del disco duro 2001 Rodas, Arturo 1954
El Aire ... Como ... Pan 2002 Pontón, Julián 1961
Electroacoustic Piece I: from The
Book of the Orchestra: BESTIARIO 2002 2003 Rodas, Arturo 1954
Electroacoustic Piece II: from The
Electroacoustic Piece III: from The
Electroacoustic Piece IV: from The
Electroacoustic Piece V: from The
Electroacoustic Piece VI: from The
Electroacoustic Piece VII: from The
423
Electroacoustic Piece VIII: from The

Finale: from The Book of the
Orchestra: BESTIARIO 2002 2003 Rodas, Arturo 1954
Líneas flotantes 2002 Flores Abad, Eduardo 1960
Piece of Cake: Suite 2003 Rodas, Arturo 1954
Tutti Frutti : from The Book of the
Orchestra: BESTIARIO 2003 Rodas, Arturo 1954
424
El Salvador
Table 21. Musical compositions created by Salvadoran composers

Date of
birth
Estudio 3 2003 Huguet, Francisco 1976
Tiento 2 2003 Huguet, Francisco 1976
425
Guatemala
Table 22. Musical compositions created by Guatemalan composers

Date of
birth
Humanofonia 1971 Orellana, Joaquín 1937
Sanctus 1975 Lehnhoff, Dieter 1955
Imposible a la X 1980 Orellana, Joaquín 1937
Híbrido a presión 1982 Orellana, Joaquín 1937
Trans-tres 1985 de Gandarias, David 1952
Conquista 2 1988 de Gandarias, Igor 1953
Cuarteto No.3 1990 Alvarado, Paulo 1960
Dialogante 1995 de Gandarias, Igor 1953
Feria Fantástica 1995 de Gandarias, Igor 1953
Anonyme 1997 Maselli, Renato 1964
Invisibles, pero presentes 1997 Alvarado, Paulo 1960
Percursos de Hormigo, Senderos de
Silicio 1997 de Gandarias, David 1952
5.50BG 1998 Alvarado, Paulo 1960
Los Matachines (El Enfrentamiento) 1999 Alvarado, Paulo 1960
Memorias de un día remoto 1999 Lehnhoff, Dieter 1955
Rituales nocturnos 1999 Lehnhoff, Dieter 1955
Gracias 2002 Maselli, Renato 1964
Atlas en el Diván 2003 Alvarado, Paulo 1960
426
Mexico
Table 23. Musical compositions created by Mexican composers

Date of
birth
El paraíso de los ahogados 1960 Jiménez Mabarak, Carlos 1916
Viols 1969 1972 Enriquez, Manuel 1926
Opus 1 1970 Quintanar, Héctor 1936
Parámetros I 1971 de Elías, Manuel 1939
Suite Electrónica 1971 Quintanar, Héctor 1936
Contrapunto 1972 Lavista, Mario 1943
Voz 1972 Quintanar, Héctor 1936
Non nova sed novo 1974 de Elías, Manuel 1939
Diálogos 1975 Quintanar, Héctor 1936
Conjuro 1976 1977 Enriquez, Manuel 1926
Conjuro [tape part only] 1976 1977 Enriquez, Manuel 1926
Atmósferas 1977 Russek, Antonio 1954
Miniaturas 1977 1992 Russek, Antonio 1954
Estudio Electrónico I 1979 Russek, Antonio 1954
Cinco Piezas Breves 1980 Russek, Antonio 1954
Estudio Electrónico II 1980 Russek, Antonio 1954
eua'on 1980 Estrada, Julio 1943
Vulcán 1980 1983 Rojo, Vicente 1960
Continuidades y Distancias 1981 Russek, Antonio 1954
Introspecciones 1981 Russek, Antonio 1954
Para espacios abiertos 1981 Russek, Antonio 1954
Reincidencias 1981 Russek, Antonio 1954
Summermood 1981 Russek, Antonio 1954
427
Fantasía cósmica 1982 Pavón, Raúl 1930

Morales-Manzanares,
Agua Derramada 1983 Roberto 1958
Discursos 1984 Russek, Antonio 1954
Paisaje Circular 1984 Russek, Antonio 1954
Radio I 1984 Russek, Antonio 1954
Temazcal 1984 Alvarez, Javier 1956
Edge Dance 1985 Alvarez, Javier 1956
Los Archivos de Panamá 1985 Alvarez, Javier 1956
Master Pez 1985 Marquez, Arturo 1950
Erótica 2 1986 Rojo, Vicente 1960
Mexihco 1986 Soto Millán, Eduardo 1956
Alternativas sobre un cuadro de
Rodolfo Nieto 1987 Córdoba, Jorge 1953
On Going On 1987 Alvarez, Javier 1956
Papalotl 1987 Alvarez, Javier 1956
A Toute Vitesse 1988 Russek, Antonio 1954
Rojo, Vicente 1960
ASA/ISO 100 21° 1988 Russek, Antonio 1954
Así el Acero 1988 Alvarez, Javier 1956
De vez en vez 1988 Russek, Antonio 1954
Luz de Invierno 1988 Russek, Antonio 1954
Luz de Invierno [tape part only] 1988 Russek, Antonio 1954
Mascletá y fuga 1988 Marquez, Arturo 1950
Poesía de la voz 1988 Marquez, Arturo 1950
Sin título 1988 Marquez, Arturo 1950
Acuerdos por Diferencia 1989 Alvarez, Javier 1956
Estudio Antimatérico 1989 Rocha Iturbide, Manuel 1963
Hamlet 1989 Russek, Antonio 1954
428
Punto y Aparte 1989 Russek, Antonio 1954

Diálogo de sordos 1989? MASOS
Encuentro 1989? MASOS
Inicio 1989? MASOS
Marcha 1989? MASOS
Reposo 1989? MASOS
Rito 1989? MASOS
Atl 1990 Rocha Iturbide, Manuel 1963
Morales-Manzanares,
Cempaxuchitl 1990 Roberto 1958
Extinción 1990 Menaceri, Samir 1956
Marina 1990 Medina, Roberto 1955
Ohtzalan 1990 Russek, Antonio 1954
Frost clear energy saver 1991 Rocha Iturbide, Manuel 1963
Homenaje 1991 Sandoval, Carlos 1956
Lumil 1991 Salinas, Arturo 1955
Mambo à la Bracque 1991 Alvarez, Javier 1956
Morales-Manzanares,
Servicio a Domicilio 1991 Roberto 1958
Zanfonietta 1991 Russek, Antonio 1954
Doloritas 1992 Estrada, Julio 1943
Five Micro Études for tape 1992 Ortiz, Gabriela 1964
Mannam 1992 Alvarez, Javier 1956
Concretando 1993 Russek, Antonio 1954
Life is nothing but a dream 1993 de Mendía, Guillermo 1955
Morales-Manzanares,
Mineral de Cata 1993 Roberto 1958
Nextalgia 1993 Russek, Antonio 1954
Nueva 1994 Morales-Manzanares, 1958
429
Roberto
Reflejos 1994 Rodriguez, Salvador 1960
SL-9 1994 Rocha Iturbide, Manuel 1963
Transiciones de Fase 1994 Rocha Iturbide, Manuel 1963
eua'on'ome 1995 Estrada, Julio 1943
Móin Móir 1995 Rocha Iturbide, Manuel 1963
(pequeño estudio sin título) 1997 Salinas, Arturo 1955
(T) our Time 1997 Galindo, Guillermo 1960
El Firmamento 1997 Sigal, Rodrigo 1971
Nocturno v. 3.0 1997 Silva, Pablo 1964
Orquídea Eterna 1997 Galindo, Guillermo 1960
Time is Money 1997 Russek, Antonio 1954
Viernes Santo 1997 Russek, Antonio 1954
Babel 1998 Sigal, Rodrigo 1971
Babel de Nuevo I 1998 Russek, Antonio 1954
Dolor en Mi 1998 Sigal, Rodrigo 1971
Fe 1998 Sigal, Rodrigo 1971
Lagarto 1998 Sigal, Rodrigo 1971
Morales-Manzanares,
Murmullo a voces 1998 Roberto 1958
Agnioétiomix 1999 Chargueron, Carole 1966
Cycles [Sigal, 1] 1999 Sigal, Rodrigo 1971
Cycles [Sigal, 2] 1999 Sigal, Rodrigo 1971
Detachment 1999 Galindo, Guillermo 1960
Haiku-2000 1999 2000 Galindo, Guillermo 1960
Siete Laberintos de Cristal 1999 Russek, Antonio 1954
Babel de Nuevo II 2000 Russek, Antonio 1954
Cisma 2000 2000 Galindo, Guillermo 1960
De silentii natura, de corporum natura 2000 Silva, Pablo 1964
430
Nitiicasi 2000 Odgers, Alejandra 1967

Offrande 2000 Alvarez, Javier 1956
El Santo Cuántico 2001 Machintosco
Fluide 2001 Chargueron, Carole 1966
La Torre 2001 Russek, Antonio 1954
LU 2001 Russek, Antonio 1954
Octum 2001 Escuer, Alejandro 1963
Semi No Koe 2001 Rocha Iturbide, Manuel 1963
Twilight 2001 Sigal, Rodrigo 1971
AcusmaticAcuatica 2002 Sigal, Rodrigo 1971
Cactus Geometries 2002 Alvarez, Javier 1956
Delirio en gris (smog y sol) 2002 Argil, Andrés 1972
Saqui, Alejandro
Divertimento I 2002 Russek, Antonio 1954
Dormitando en el tren 2002 Argil, Andrés 1972
Saqui, Alejandro
El fantasma del aislamiento urbano 2002 Argil, Andrés 1972
Saqui, Alejandro
Friction of things in other places 2002 Sigal, Rodrigo 1971
Gastando el calzado 2002 Argil, Andrés 1972
Saqui, Alejandro 1974
La abducción del guitarrista Argil, Andrés 1972
2002 Saqui, Alejandro 1974
Russek, Antonio 1954
La lección de japones 2002 Argil, Andrés 1972
Mientras la ciuda duerme II 2002 Argil, Andrés 1972
431
Mientras la ciudad duerme I 2002 Argil, Andrés 1972

Noticias del desayuno 2002 Argil, Andrés 1972
Periferia de lujo 2002 Argil, Andrés 1972
Postales de Fe 2002 Sigal, Rodrigo 1971
Rezago en la estación 2002 Argil, Andrés 1972
Rimbarimba 2002 Sigal, Rodrigo 1971
Telúrico 2002 Russek, Antonio 1954
Tolerance 2002 Sigal, Rodrigo 1971
Transmission Temazcal 2002 Galindo, Guillermo 1960
Brown, Chris
Transmission Tenderloin 2002 Galindo, Guillermo 1960
Brown, Chris
... EVEN ... 2003 Rocha Iturbide, Manuel 1963
Avaricia 2003 Sigal, Rodrigo 1971
Blood Stream 2003 Sigal, Rodrigo 1971
Convexo 2003 Russek, Antonio 1954
En Círculos I 2003 Russek, Antonio 1954
En Círculos II 2003 Russek, Antonio 1954
Envidia 2003 Sigal, Rodrigo 1971
Liquid Fear 2003 Sigal, Rodrigo 1971
Boredom of familiarity 2004 Sigal, Rodrigo 1971
De Cuerpo Entero 2004 Russek, Antonio 1954
EEE 2004 MU
El Ángel 2004 Russek, Antonio 1954
432
Hammermusik primary structures 2004 Rendón, Ricardo

Mielina 2004 MU
Mu 03 2004 MU
Orfeo 2004 Russek, Antonio 1954
Power nap 2004 Sigal, Rodrigo 1971
Sin Título 2004 Russek, Antonio 1954
Sobre el Agua 2004 Silva, Pablo 1964
Sonic farfalla 2004 Sigal, Rodrigo 1971
Storm 2004 Russek, Antonio 1954
Unplugged 2004 Russek, Antonio 1954
Mu 09 2005 MU
Duelo undated Fernández Ros, Antonio 1961

in_dog undated Galindo, Guillermo 1960
On the Other Shore undated Villarreal, Sergio
433
Panama
Table 24. Musical compositions created by Panamanian composers

Date of
birth
Línea 1986 1995 Soley, David 1962
Paraguay
Table 25. Musical compositions created by Paraguayan composers

Date of
birth
Dimensiones 1991 Luzko, Daniel 1966
Desolación 1991 Luzko, Daniel 1966
Estudio 1993 Luzko, Daniel 1966
Ombyka 1995 Ayala, René 1957
Adriana 1997 Luzko, Daniel 1966
El Duende 2001 Villagra Boa, Hugo Guillermo 1982
La Guerra 2003 Villagra Boa, Hugo Guillermo 1982
Desconcierto para chapa y

percusión undated Ayala, René 1957
Las Sirenas undated Ayala, René 1957
434
Peru
Table 26. Musical compositions created by Peruvian composers

Date of
birth
Intensidad y Altura 1964 Bolaños, César 1931
Interpolaciones 1966 Bolaños, César 1931
Prisma 1967 Pinilla, Enrique 1927
Invención 1967 Valcárcel, Edgar 1932
Alfa-Omega 1967 Bolaños, César 1931
Canto Coral a Túpac Amaru [tape
part only] 1968 Valcárcel, Edgar 1932
Zampoña Sónica [tape part only] 1968 1976 Valcárcel, Edgar 1932
I-10-AIFG/Rbt1 1968 Bolaños, César 1931
Flexum 1969 Bolaños, César 1931
Gravitación Humana 1970 Núñez Allauca, Alejandro 1943
Canción sin Palabras 1970 Bolaños, César 1931
Milchberg, César
Sialoecibi 1970 Bolaños, César 1931
Milchberg, César
Flor de Sancayo [tape part only] 1976 Valcárcel, Edgar 1932
Flor de Sancayo 1976 Valcárcel, Edgar 1932
Lago de totoras (Composiciones
Nativas) 1978 Ruiz del Pozo, Arturo 1949
Selvinas (Composiciones Nativas) 1978 Ruiz del Pozo, Arturo 1949
Estudio para clarinete
cajamarqueno (Composiciones
435
Una tarka en Brujas

(Composiciones Nativas) 1978 Ruiz del Pozo, Arturo 1949
Estudio para quena (Composiciones
Despegue (Composiciones Nativas) 1978 Ruiz del Pozo, Arturo 1949
Parantara (Composiciones Nativas) 1978 Ruiz del Pozo, Arturo 1949
Los Dados Eternos 1991 Fischman, Rajmil 1956
Dreams of Being 1991 Fischman, Rajmil 1956
Piedra del Q'osqo 1991 Junchaya, Rafael Leonardo 1965
Ccoyllurcha 1993 Junchaya, Rafael Leonardo 1965
Deformaciones 1993 Mercier, Gilles 1963
Cold Fire 1994 Fischman, Rajmil 1956
Sin Los Cuatro 1994 Fischman, Rajmil 1956
Glissando 5 1995 Velarde Chong, Nilo 1964
Alma Latina 1996 1997 Fischman, Rajmil 1956
If Stones Could Have a Brief Word... 1996 Fischman, Rajmil 1956
Interacciones Iniciales 1996 Mercier, Gilles 1963
Barren Lands 1997 Fischman, Rajmil 1956
Ramblings on a Volcano 1997 Fischman, Rajmil 1956
Mutaciones Tímbricas "A" y "B" 1997 Mercier, Gilles 1963
Kol HaTorr 1998 Fischman, Rajmil 1956
Presidio 1998 Mercier, Gilles 1963
Evo 3214 1998 Mercier, Gilles 1963
Mulchmus 1998 Mercier, Gilles 1963
Dimensiones Suspendidas 1998 Mercier, Gilles 1963
No me quedo ... (plantado en este
verso) 2000 Fischman, Rajmil 1956
Ejercicio 2000 Sosaya, José 1956
In-vita 2000 Junchaya, Rafael Leonardo 1965
436
Ejercicio 2000 Sosaya, José 1956

Erwin's Playground 2001 Fischman, Rajmil 1956
And I Think to Myself ... 2001 Fischman, Rajmil 1956
Místico 2001 Velarde Chong, Nilo 1964
Silbadores 2001 Oliver, Jaime
A Short Tale 2002 Fischman, Rajmil 1956
Madrigal 2002 Junchaya, Rafael Leonardo 1965
Die Erscheinung 2003 Junchaya, Rafael Leonardo 1965
axones 2003 Filinich Orozco, Renzo 1978
clasifonía 1 2003 Filinich Orozco, Renzo 1978
anisotropía 2003 Filinich Orozco, Renzo 1978
12 minutos exactos 2003 Filinich Orozco, Renzo 1978
poema sonoro "vida" 2003 Filinich Orozco, Renzo 1978
axones (live) 2003 Filinich Orozco, Renzo 1978
improvización 2003 Filinich Orozco, Renzo 1978
Esperalba 2003 Mercier, Gilles 1963
Intubici 2003 Mercier, Gilles 1963
Estructuras: Parte 1 - Parte 2 2004 Filinich Orozco, Renzo 1978
Imagenes sonoras sobre la
carretera (Efecto Doppler) 2004 Filinich Orozco, Renzo 1978
Sensaciones 2004 Filinich Orozco, Renzo 1978
Altiplano 2004 Filinich Orozco, Renzo 1978
Vida Artificial 2004 Filinich Orozco, Renzo 1978
Psicodelia Vocal 2004 Filinich Orozco, Renzo 1978
Sequenza X 2004 Filinich Orozco, Renzo 1978
Noise, What Is Noise? 2004 Filinich Orozco, Renzo 1978
437
Puerto Rico
Table 27. Musical compositions created by Puerto Rican composers

Date of
birth
Cuídese de los ángeles que caen 1974 Aponte Ledée, Rafael 1938
Elvira Gimenez (o al otro lado de
Tica...) 1974 Aponte Ledée, Rafael 1938
Los Huevos de Pandora 1974 Aponte Ledée, Rafael 1938
Composición Electrónica 1978 Ortiz Alvarado, William
Enchanted Islands 1984 Torres Santos, Raymond 1958
Otoao 1985 Torres Santos, Raymond 1958
Mágicas Antillas 1991 Vázquez, Carlos 1952
El Encanto de la Noche Tropical I: El
Yunque 1993 Vázquez, Carlos 1952
Los Ciclos de Luisa 1994 Vázquez, Carlos 1952
Aires Granadinos 1995 Schwartz, Francis 1940
Saxofonía 1996 Vázquez, Carlos 1952
Lenguas 1998 Schwartz, Francis 1940
Mascarada 1999 Vázquez, Carlos 1952
Un Boricua en Madrid 1999 Vázquez, Carlos 1952
Esa medalla me quema el pecho 2000 Vázquez, Carlos 1952
Aquel album ... 2003 Vázquez, Carlos 1952
Lux Aeterna undated Torres Santos, Raymond 1958

438
Uruguay
Table 28. Musical compositions created by Uruguayan composers

Date of
birth
Música para aluminios 1967 Aharonián, Coriún 1940
Que 1969 Aharonián, Coriún 1940
Oulom I 1970 Cervetti, Sergio 1940
Oulom II 1970 Cervetti, Sergio 1940
El Glotón de Pepperland 1970 Martinez, Ariel 1940
Cabotaje IIIa : En medio 1971 Martinez, Ariel 1940
Cabotaje IIIc : En medio 1971 1976 Martinez, Ariel 1940
Tromboffolón I 1971 Martinez, Ariel 1940
Tromboffolón I [tape part only] 1971 Martinez, Ariel 1940
Raga 1971 Cervetti, Sergio 1940
Homenaje a la flecha clavada en el
pecho de Don Juan Díaz de Solís 1974 Aharonián, Coriún 1940
Gran tiempo 1974 Aharonián, Coriún 1940
Equus 1976 Silva, Conrado 1940
¡Salvad los niños! 1976 Aharonián, Coriún 1940
la batalla desesperada 1976 2003 Paz Carlson, Eduardo 1958
Así nomás 1977 Da Silveira, Carlos 1950
le dije que aguarde 1977 2003 Paz Carlson, Eduardo 1958
los pies del sol 1 1977 2003 Paz Carlson, Eduardo 1958
plaza de comidas 1977 2003 Paz Carlson, Eduardo 1958
mont du métal 1977 2003 Paz Carlson, Eduardo 1958
congelados 1977 2003 Paz Carlson, Eduardo 1958
maría se desnuda para la mente 1977 2003 Paz Carlson, Eduardo 1958
439
detergentes 1 1977 2003 Paz Carlson, Eduardo 1958

infinidad de productos 1977 2003 Paz Carlson, Eduardo 1958
eva 1977 2001 Paz Carlson, Eduardo 1958
in crematorium 1977 2001 Paz Carlson, Eduardo 1958
parte 9 : Ton Corps Ballet 1977 2003 Paz Carlson, Eduardo 1958
oratio secreta : parte 7 1977 2001 Paz Carlson, Eduardo 1958
Natal del-Rei 1978 1980 Silva, Conrado 1940
Esos silencios 1978 1981 Aharonián, Coriún 1940
benedictus de la Misa Electroacústica 2 1978 2002 Paz Carlson, Eduardo 1958
hotel de paso 1978 2002 Paz Carlson, Eduardo 1958
La Construcción 1979 Maslíah, Leo 1954
Stella Vindemiatrix 1979 Cervetti, Sergio 1940
Llanto 1980 Maslíah, Leo 1954
el fonoglifo 1980 Paz Carlson, Eduardo 1958
vitres de son 1980 2003 Paz Carlson, Eduardo 1958
Suiana Wanka 1981 1982 Condon, Fernando 1955
esos laberintos, tan nuestros 1981 Maggiolo, Daniel 1956
Apruebo el sol 1984 Aharonián, Coriún 1940
Impresiones de Toledo 1986 1988 Rivero, Marino
The Hay Wain 1987 Cervetti, Sergio 1940
Transatlantic Light 1987 Cervetti, Sergio 1940
En Familia 1988 Condon, Fernando 1955
Takanimba (A night in Soweto) 1988 Jure, Luis 1960
y en eso te vi, tan perdida 1989 Maggiolo, Daniel 1956
adormecida por el aire del atlántico [...
se van, no vuelven más...] 1989 1995 Maggiolo, Daniel 1956
Eyeless in Gaza 1989 1992 Jure, Luis 1960
Beauté magique 1989 Pietrafesa, Renée
Pericón 1989 Silva, Conrado 1940
440
en el hecho mismo de la pasión 1991 1992 Maggiolo, Daniel 1956

afuera el aire es tan solo otra ilusión 1991 1998 Maggiolo, Daniel 1956
Biriotti, León 1929
Furioso 1991 Dal Farra, Ricardo 1957
spiritu sanctus in corde 2 1991 2002 Paz Carlson, Eduardo 1958
12 de samsara ballet 1991 2002 Paz Carlson, Eduardo 1958
17 de samsara ballet 1991 2002 Paz Carlson, Eduardo 1958
visión 2 1991 1996 Paz Carlson, Eduardo 1958
Radio Huesca 1992 Maslíah, Leo 1954
Tiruriru 1992 1993 Maslíah, Leo 1954
Africa tuya 1993 Maslíah, Leo 1954
Espaços Habitados 1994 Silva, Conrado 1940
Self-Portrait 1994 Biriotti, León 1929
Rigor Vitae, Curriculum Mortis 1995 Maslíah, Leo 1954
Eccétera 1995 Maslíah, Leo 1954
Secas las pilas de todos los timbres 1995 Aharonián, Coriún 1940
saturnina 1995 2003 Paz Carlson, Eduardo 1958
3 meditaciones 1996 Sotuyo, Pablo 1963
Bereshit 1.1 1997 Sotuyo, Pablo 1963
Bereshit 1.2 1997 Sotuyo, Pablo 1963
de los vientres, de las más 1997 Maggiolo, Daniel 1956
a pesar de todos los naufragios 1999 Maggiolo, Daniel 1956
441
Venezuela
Table 29. Musical compositions created by Venezuelan composers

Date of
birth
Metagrama 1969 1970 del Mónaco, Alfredo 1938
Electronic Study II 1970 del Mónaco, Alfredo 1938
Alternancias 1971 del Mónaco, Alfredo 1938
Dualismos 1971 del Mónaco, Alfredo 1938
Syntagma (A) 1972 del Mónaco, Alfredo 1938
Trópicos 1972 1973 del Mónaco, Alfredo 1938
Electronic Study III 1974 del Mónaco, Alfredo 1938
Nuestra Cultura Vegeta 1976 Teruel, Ricardo 1956
Thingsphonia 1978 Rugeles, Alfredo 1949
A ver si nos entendemos 1983 Teruel, Ricardo 1956
Glooskap y Lindú 1984 Teruel, Ricardo 1956
um-um-é-hum-ah 1984 Teruel, Ricardo 1956
Un minuto de silencio ¡Por favor! (o
ni en sueños) 1984 Teruel, Ricardo 1956
Sin ti por el alma adentro 1987 D'Escrivan, Julio 1960
Tarde con Chicharras 1987 Freitez Gassán, Fernando 1958
Truly Yours 1987 Matamoros, Gustavo 1957
Truly Yours [tape part only] 1987 Matamoros, Gustavo 1957
El Maromero 1988 Freitez Gassán, Fernando 1958
Hace veinte años : Homenaje a Los
Beatles 1988 Rugeles, Alfredo 1949
La Pieza 1988 Matamoros, Gustavo 1957
Mambo del Gallinero 1988 Freitez Gassán, Fernando 1958
Persistencia de la Memoria : A 1988 Freitez Gassán, Fernando 1958
442
Salvador Dalí
Seis por Izquierdo 1988 Freitez Gassán, Fernando 1958
Sombras Móviles 1988 Freitez Gassán, Fernando 1958
Vojm 1988 Izarra, Adina 1959
El duende de las cuevas 1989 Freitez Gassán, Fernando 1958
In Memory of Gentle Giant [tape part
only] 1989 1991 Matamoros, Gustavo 1957
In Memory of Gentle Giant II 1989 1991 Matamoros, Gustavo 1957
La Caja de Sorpresas 1989 Freitez Gassán, Fernando 1958
Oración para clamar por los
oprimidos 1989 Rugeles, Alfredo 1949
Salto mortal 1989 D'Escrivan, Julio 1960
Omaggio 1990 Sánchez Bor, Domingo
Retrato: Bob Gregory 1990 Matamoros, Gustavo 1957
Retratos: Luis Gómez-Imbert 1990 Matamoros, Gustavo 1957
Bajo la Sombra del Mundo 1993 Noya, Miguel
La muerte del delfín 1994 Benedetti, Josefina
UnmundodentrodeunmundO 1994 Schreiber, Jacky 1961
Agua [y basura] por todas partes 1995 Matamoros, Gustavo 1957
Dispositivo rítmico en homenaje a Rodríguez Legendre,
Theodor Adorno 1995 Fidel
Segnini-Sequera,
MPCSSCVEV (Imp-loro) 1995 Rodrigo 1968
Microtonal I 1996 Teruel, Ricardo 1956
Segnini-Sequera,
Pamine 1996 1997 Rodrigo 1968
Tropical Bird 1996 Teruel, Ricardo 1956
Castillo Olivari,
Chaos Metamorphosis 1997 Arcángel 1959
443
Castillo Olivari,
Pierrot 1997 Arcángel 1959
Eufonía 1999 Teruel, Ricardo 1956
Seis dúos para dos generadores de
dos generaciones: Dúo 1 1999 Teruel, Ricardo 1956
Castillo Olivari,
Save Twilight: IfIAmToLive 2000 Arcángel 1959
Castillo Olivari,
Save Twilight: Moths 2000 Arcángel 1959
Save Twilight: Speak, Castillo Olivari,
YouHaveThreeMinutes 2000 Arcángel 1959
Castillo Olivari,
Save Twilight: TheFuture 2000 Arcángel 1959
Save Twilight: Castillo Olivari,
ToBeReadInTheInterrogative 2000 Arcángel 1959
Grabados : Grabado 01 2001 Teruel, Ricardo 1956
Prótesis 2001 Galán, Agapito
Heavy-Dream 2002 Galán, Agapito
444
Las Troyanas 2003 Galán, Agapito

Preludio de Robert de Visée 2003 Izarra, Adina 1959
Castillo Olivari,
Prozac undated Arcángel 1959
445
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455
APPENDIX A
LIST OF INTERVIEWS
Recordings freely available for consultation as part of the Latin American Electroacoustic
Music Collection created by Ricardo Dal Farra and hosted by the Daniel Langlois Foundation
in Montreal.
Interview with: Rafael Aponte Ledée (born in Puerto Rico). Recorded in 2003.
Interview with: César Bolaños (born in Peru). Recorded in 2004.
Interview with: Graciela Castillo (born in Argentina). Recorded in 2003.
Interview with: Rolando Cori and Jorge Martinez (both born in Chile). Recorded in 2004.
Interview with: Manuel de Elías (born in Mexico). Recorded in 2003.
Interview with: Alfredo del Mónaco (born in Venezuela). Recorded in 2003.
Interview with: Manuel Enriquez (born in Mexico). Recorded in 1992.
Interview with: Carlos Ferpozzi (born in Argentina). Recorded in 2004.
Interview with: Enrique Gerardi (born in Argentina). Recorded in 2003.
Interview with: alcides lanza (born in Argentina). Recorded in 2003.
Interview with: Ariel Martinez (born in Uruguay). Recorded in 2003.
Interview with: Alejandra Odgers (born in Mexico). Recorded in 2003.
Interview with: Héctor Quintanar (born in Mexico). Recorded in 2005.
Interview with: Conrado Silva (born in Uruguay). Recorded in 2004.

456
Interview with: Wilson Sukorski (born in Brazil). Recorded in 2004.
Interview with: Horacio Vaggione (born in Argentina). Recorded in 2003.
Interview with: Edgar Valcárcel (born in Peru). Recorded in 2003.
Interview with: Carlos Vázquez (born in Puerto Rico). Recorded in 2003.
Interview with: Alberto Villalpando (born in Bolivia). Recorded in 1994.
Interview with: Fernando von Reichenbach (born in Argentina). Recorded in 2003.

457
APPENDIX B
ECONOMY OVERVIEW
The following paragraphs complements the economic information mentioned in Chapter III,
section 3.2 Economy overview, about Latin America and some northwestern countries where
pioneering electroacoustic music activities started.
All the information was gathered from the The World Factbook 2004 prepared by the Central
Intelligence Agency of the United States.
Latin America
Argentina benefits from rich natural resources, a highly literate population, an export-
oriented agricultural sector, and a diversified industrial base.
Bolivia long one of the poorest and least developed Latin American countries, made
considerable progress in the 1990s toward the development of a market-oriented economy.
Possessing large and well-developed agricultural, mining, manufacturing, and service sectors,
Brazil's economy outweighs that of all other South American countries and is expanding its
presence in world markets.
Chile has a market-oriented economy characterized by a high level of foreign trade.
Colombia’s economy suffers from weak domestic and foreign demand, austere government
budgets, and serious internal armed conflict, but seems poised for recovery.
458
Costa Rica's basically stable economy depends on tourism, agriculture, and electronics
exports.
Cuba’s government continues to balance the need for economic loosening against a desire
for firm political control. It has undertaken limited reforms to increase enterprise efficiency
and alleviate serious shortages of food, consumer goods, and services.
The Dominican Republic suffers from marked income inequality; the poorest half of the
population receives less than one-fifth of GNP, while the richest 10% enjoys nearly 40% of
national income (Gross national product or GNP is the value of all final goods and services
produced within a nation in a given year, plus income earned by its citizens abroad, minus
income earned by foreigners from domestic production)
Ecuador has substantial petroleum resources, which have accounted for 40% of the country's
export earnings and one-fourth of public sector revenues in recent years.
With the adoption of the US dollar as its currency, El Salvador has lost control over
monetary policy and must concentrate on maintaining a disciplined fiscal policy. GDP per
capita is roughly only half that of Brazil, Argentina, and Chile, and the distribution of income
is highly unequal.
Guatemala is the largest and most populous of the Central American countries. The
agricultural sector accounts for about one-fourth of GDP, two-thirds of exports, and half of
the labor force. Coffee, sugar, and bananas are the main products.
Mexico has a free market economy with a mixture of modern and outmoded industry and
agriculture, increasingly dominated by the private sector. Per capita income is one-fourth that
of the US; income distribution remains highly unequal.
Panama's dollarised economy rests primarily on a well-developed services sector that

459
accounts for three-fourths of GDP. Services include operating the Panama Canal, banking,
the Colon Free Zone, insurance, container ports, flagship registry, and tourism.
Paraguay has a market economy marked by a large informal sector. The informal sector
features both reexport of imported consumer goods to neighboring countries as well as the
activities of thousands of microenterprises and urban street vendors. A large percentage of
the population derives their living from agricultural activity, often on a subsistence basis.
Peru's economy reflects its varied geography. Abundant mineral resources are found in the
mountainous areas, and Peru's coastal waters provide excellent fishing grounds.
Puerto Rico has one of the most dynamic economies in the Caribbean region. A diverse
industrial sector has far surpassed agriculture as the primary locus of economic activity and
income. Encouraged by duty-free access to the US and by tax incentives, US firms have
invested heavily in Puerto Rico since the 1950s. US minimum wage laws apply.
Uruguay's well-to-do economy is characterized by an export-oriented agricultural sector, a

well-educated workforce, and high levels of social spending.
Venezuela continues to be highly dependent on the petroleum sector, which accounts for
roughly one-third of GDP, around 80% of export earnings, and more than half of government
operating revenues.
Europe and North America
As an affluent, high-tech industrial society, Canada today closely resembles the US in its
market-oriented economic system, pattern of production, and high living standards. Since
World War II, the impressive growth of the manufacturing, mining, and service sectors has
transformed the nation from a largely rural economy into one primarily industrial and urban.
460
France is in the midst of transition, from a well-to-do modern economy that has featured
extensive government ownership and intervention to one that relies more on market
mechanisms. France's leaders remain committed to a capitalism in which they maintain social
equity by means of laws, tax policies, and social spending that reduce income disparity and
the impact of free markets on public health and welfare.
Germany's affluent and technologically powerful economy- the fifth largest national
economy in the world - has become one of the slowest growing economies in the entire euro
zone, and a quick turnaround is not in the offing in the foreseeable future.
Italy has a diversified industrial economy with roughly the same total and per capita output
as France and the UK. This capitalistic economy remains divided into a developed industrial
north, dominated by private companies, and a less developed, welfare-dependent agricultural
south, with 20% unemployment. Most raw materials needed by industry and more than 75%
of energy requirements are imported.
Aided by peace and neutrality for the whole 20th century, Sweden has achieved an enviable
standard of living under a mixed system of high-tech capitalism and extensive welfare
benefits. It has a modern distribution system, excellent internal and external communications,
and a skilled labor force.
The United Kingdom, a leading trading power and financial center, is one of the quartet of
trillion dollar economies of Western Europe. Agriculture is intensive, highly mechanized, and
efficient by European standards, producing about 60% of food needs with only 1% of the
labor force. The UK has large coal, natural gas, and oil reserves; primary energy production
accounts for 10% of GDP. Services, particularly banking, insurance, and business services,
account by far for the largest proportion of GDP while industry continues to decline in
importance.
The United States has the largest and most technologically powerful economy in the world,
with a per capita GDP of $37,800. In this market-oriented economy, private individuals and
461
business firms make most of the decisions, and the federal and state governments buy needed
goods and services predominantly in the private marketplace. US firms are at or near the
forefront in technological advances, especially in computers and in medical, aerospace, and
military equipment.
462
APPENDIX C
GLOSSARY
Acousmatic music
[…] The term Electroacoustic Music has expanded to such a degree that it has
become a meaningless catch-all", wrote Michel Chion in 1982. Today, this
expression reveals little of what we may expect to hear, and its use is analogous to
applying the term acoustic music to define the entire instrumental repertoire. For
these reasons, a group of composers, descendants of the school of musique concrète,
found it necessary to find a term that clearly designates the genre in which they work,
and which calls for a particular reflection, a methodology, a craft, a syntax, and
specific tools.
This term is acousmatic. It refers to a theoretical and practical compositional

approach, to particular listening and realization conditions, and to sound projection
strategies. Its origin is attributed to Pythagoras (6th C. BC) who, rumour has it,
taught his classes –only verbally – from behind a partition, in order to force his
students to focus all their attention on his message. In 1955, during the early stages of
musique concrète, the writer Jérôme Peignot used the adjective acousmatic to define
a sound which is heard and whose source is hidden. By shrouding ‘behind’ the
speaker (a modern Pythagorean partition) any visual elements (such as instrumental
performers on stage) that could be linked to perceived sound events, acousmatic art
presents sound on its own, devoid of causal identity, thereby generating a flow of
images in the psyche of the listener.
In order to avoid any confusion with performance-oriented electroacoustic music, or

music using new instruments (Ondes Martenot, electric guitars, synthesizers, real-
time digital audio processors, etc), François Bayle introduce the term acousmatic
music in 1974.
Dhomont, F. (2002). Acousmatic Update. Sonic Arts Network. [online] Address:

The acousmatic listening experience is independent of the visual domain and thus
frees the mental images and creative forms of our imagination.
463
Musiques & recherches (undated). About acousmatic? [online] Address:

http://www.musiques-recherches.be/acousmatic.php?lng=en
Electroacoustics
The branch of electronics that deals with the conversion of electricity into acoustical
energy and vice versa.
AllWords.com (2002). Electroacoustics [online]. Address: http://www.allwords.com/

glossaryPage.php?CAT=ELO&letter=E%25
Electroacoustic music
The term electroacoustic music used throughout this text refers to: musical creations that
involve electronically modified or generated sounds, which may or may not be accompanied
by live voices or acoustic instruments, and that use a language close to the experimental
and/or academic world (adapted from a definition by Otto Luening in The Odyssey of an
American Composer, New York: Charles Scribner's Sons, 1980).
There are many other approaches and definitions to electroacoustic music, like this one by
Kevin Austin (with an acknowledgement to M. Century):
The use of electricity for the conception, ideation, creation, storage, production,
interpretation, distribution, reproduction, perception, cognition, visualization,
analysis, comprehension and/or conceptualization of sound.
Ears: ElectroAcoustic Resource Site. Music, Technology and Innovation Research

Group at De Montfort University (2003). Electroacoustic Music [online]. Address:
To have an idea of how vast the electroacoustic music world and its relationships could be,
the following are some of the Genres and Categories of Electroacoustic Music as it appears
on the ElectroAcoustic Resource Site (EARS) of the Music, Technology and Innovation
Research Group of De Montfort University: Acousmatic; Adaptive Music; Algorithmic
Music; Ambient Music; Analogue Electroacoustic Music; Collage; Computer Music; Digital
Music; Electroacoustic Music; Electronic Music; Electronica; Experimental Music; Granular
Music; Immersive Environment; Interactivity; Interdisciplinary Artistic Work (Audio-vision -
Multimedia/Intermedia - Sound Design - Text-sound Composition); Internet Music; Live
Electronics; Lowercase Sound; Mixed Work; Musique concrète; Phonography (Anecdotal
464
Composition); Plunderphonics; Radio Art/Radiophonics/Hörspiel; Sonic Art; Sound Art

(Sound Installation); Soundscape Composition; Stochastic Music; Tape Music.
This somewhat elusive term has evolved since the late 1950s, and attempts to define
it have provoked much-heated debate amongst academics and practitioners. The term
has a specific meaning in audio engineering (see 2 below), and a rather-too-simplistic
explanation is that it was adopted as an inclusive and umbrella term as the activities
of musique concrète, tape music, and electronic music composers saw almost
immediate cross-fertilization, which continued through the 1960s and 70s.
The term saw early usage in the United Kingdom and Canada, and during the 1970s
tended (amongst other terms) to be used in the French language (électroacoustique)
in place of musique concrète. The term was never in wide usage in the United States,
where Electronic Music, Tape Music and Computer Music predominated, but recent
years have seen an increased usage here too. The term is currently widely used in
several European/South American languages, including Spanish and Portuguese.
More recently, some, particularly in Canada, have adopted the term Electroacoustics,
which includes Electroacoustic Music Studies in its sense, and has the advantage of
emphasising the interdisciplinary nature of the field in the nuance of its meaning.
Some argue that the term is so elusive as to be unhelpful, and should therefore be
abandoned. Others opt for the most general possible use of the word as an umbrella
term (see 1 below). The English language has seen increased recent usage of the
terms Sonic Art and Electroacoustics in place of Electroacoustic Music. The French
language has several nuanced alternatives, including l'Art de Sons Fixés (Michel
Chion) and Musique Acousmatique (proposed by François Bayle in the early 1970s
as a replacement for Musique Concrète, and a means of delineating his aesthetic
concerns within the broader field of Electroacoustic Music).
In an attempt to illustrate nuance, the following four established definitions are

offered below.
1. Electroacoustic music refers to any music in which electricity has had some
involvement in sound registration and/or production other than that of simple
microphone recording or amplification. (Source - L. Landy - Reviewing the
Musicology of Electroacoustic Music, Organised Sound' 4/1)
2. An adjective describing any process involving the transfer of a signal from

acoustic to electrical form, or vice versa. Most commonly transducers, such as the
microphone or loudspeaker are examples of this process.
Although the term most precisely refers to a signal transfer from electrical to acoustic
form or vice versa, it also is often used more loosely to refer to any process for the
electronic generation and/or manipulation of sound signals, including techniques of
sound synthesis for the electronic or digital generation of such signals. When the
465
purpose of such manipulation is artistic, the result is commonly called electroacoustic

music. (Source: Barry Truax - Handbook for Acoustic Ecology CD-ROM Edition.
Cambridge Street Publishing, 1999 - CSR-CDR 9901)
3. Music in which electronic technology, now primarily computer-based, is

used to access, generate, explore and configure sound materials, and in which
loudspeakers are the prime medium of transmission. There are two main genres.
Acousmatic music is intended for loudspeaker listening and exists only in recorded
tape form (tape, compact disk, computer storage). In live electronic music the
technology is used to generate, transform or trigger sounds (or a combination of
these) in the act of performance; this may include generating sound with voices and
traditional instruments, electroacoustic instruments, or other devices and controls
linked to computer-based systems. Both genres depend on loudspeaker transmission,
and an electroacoustic work can combine acousmatic and live elements. (Source -
Simon Emmerson, Denis Smalley, The New Grove Dictionary of Music and
Musicians. Second Edition, 2001, ed. Stanley Sadie)

Group at De Montfort University (2003). Electroacoustic Music [online]. Address:
Electronic Music
Originally, music in which the sound material is not pre-recorded, but instead
uniquely generated electronically, historically through oscillators and noise
generators, currently digitally. There are some, particularly in the United States, who
use this term today as a synonym for electroacoustic music. The German equivalent,
Elektronische Musik has more precise historical connotations, referring to
electronically generated post-serial composition that commenced in the early 1950s
in the broadcast studios in Cologne.

Group at De Montfort University (2003). Electronic Music [online]. Address:
Experimental Music
1. Synonymous with avant-gardism (Paul Griffiths, Robert Fink and Herbert

Eimert)
2. Music made in a laboratory (Lejaren Hiller, Pierre Schaeffer)
466
3. The performance of music of which the outcome cannot be foreseen (John

Cage, Michael Nyman, Wim Mertens and Joaquim M. Benitez)
4. Music in which the innovative component (not in the sense of newness found
in any artistic work, but instead substantial innovation as clearly intended by a
composer and/or performer) of any given aspect of a given piece or performance
takes priority above the more general technical craftsmanship expected of any art
work
(Source - Leigh Landy, ``What's the Matter with Today's Experimental Music?'',
Chur, Harwood Academic Publishers, pp. 3-7)

Group at De Montfort University (2003). Experimental Music [online]. Address:
Interactive Instruments
The means and manner by which a human may interact with a machine for the
purpose of music making has proven an area of immense research and activity since
the days of early electronic instruments. This term is used without any great
consistency, in part due to the immense scale of current research and activity in the
field.
Any conceivable means of inputting data into a system to elicit some form of
musically meaningful response may be considered to be a controller. In the broadest
possible sense, a controller, via some form of communication between component
parts (e.g. MIDI, converters, computer software) in conjunction with some means of
producing or modifying sound may be termed an Interactive Instrument. Frequently,
such controllers exist in homologous relationships with sensors (e.g. of movement).
Thus gloves, conductors batons, toys, amongst countless other examples, may be
constructed or modified to function as musical instruments.
An existing form of musical instrument may be modified through the addition of

sensors, enabling control of additional electronically mediated sound generation or
modification (including the instrumental sound itself) in addition to the conventional
control the musician exerts over the production of the acoustic sound. Such examples
are also sometimes referred to as Extended Instruments.

Group at De Montfort University (2003). Interactive Instruments [online]. Address:
http://www.mti.dmu.ac.uk/EARS/Data/node207.html#Interactive_Instruments
467
Interactivity
“Interactivity refers broadly to human-computer musical interaction, or human-

human musical interaction that is mediated through a computer, or possibly a series
of networked computers that are also interacting with each other. Often, an
interactive performance, composition or improvisation will involve the creation or
programming of software that will respond to pre-determined aspects of a live
performance. The software will then determine other aspects of the music, either
generating synthesised sound, or modifying in some way all or some of the `live'
sound.
The behavior of the computer may be highly determined or indeterminate as defined

by the musicians, and may be modified from performance to performance. The exact
musical role of the computer may even be modified in real-time during the course of
a performance.
Interactive music-making introduces and often utilises notions of virtual instrument,

virtual performer, virtual composer, and even virtual listener.
Interactive music-making frequently blurs the conventional distinction between

compositional and improvisational activity. Key issues in interactive music making
are socialisation, collective authorship, geographical and temporal
synchronicity/asynchronicity, and `distributed activity'.”

Group at De Montfort University (2003). Interactivity [online]. Address:
http://www.mti.dmu.ac.uk/EARS/Data/node47.html#Interactivity
Interface
Software or hardware-based device or protocol which serves as an intermediary

between a computer and a peripheral device or between two different systems which
permits the exchange of information between them.

Group at De Montfort University (2003). Interface [online]. Address:
468
Latin America
The term Latin America is used loosely to refer to all the American countries south
of the United States: used this way, it covers the whole of South America, Central
America, Mexico, and the Caribbean. In this text it is used in a strict sense to refer
solely to the nations in those geographical regions where the Spanish and Portuguese
languages predominate; this narrower definition excludes the countries and territories
where English and other languages are spoken (Jamaica, Belize, Guyana, Suriname,
Haiti, etc.)” […] The Latin American countries, taking the term in its strict sense, are:
• Argentina
• Bolivia
• Brazil
• Chile
• Colombia
• Costa Rica
• Cuba
• Dominican Republic
• Ecuador
• El Salvador
• Guatemala
• Honduras
• Mexico
• Nicaragua
• Panama
• Paraguay
• Peru
• Uruguay
• Venezuela and
• the Commonwealth of Puerto Rico (USA)
Free-Definition (undated). Latin America - definition, meaning, explanation &

information [online]. Address: http://www.free-definition.com/Latin-America.html
Live electronics
A term dating from the analogue age of electroacoustic music that describes
performance involving electronic instruments which can be performed in real-time.
The term is more commonly expressed today as music involving interactive
instruments.

Group at De Montfort University (2003). Live Electronics [online]. Address:
469
MIDI
MIDI is an abbreviation for Musical Instrument Digital Interface, which designates

the standard protocol for communication between electronic instruments and
equipment with MIDI implementation. This has proven to be of particular interest
within electroacoustic music in the areas of sequencing, triggering and controlling.
MIDI devices allow for the sending and receiving of MIDI protocol messages. MIDI
interfaces enable MIDI instrument connection to a computer, which allows for
computer control of other MIDI equipment.

Group at De Montfort University (2003). MIDI [online]. Address:
http://www.mti.dmu.ac.uk/EARS/Data/node211.html#MIDI
Musique concrète
When in 1948 Pierre Schaeffer gave the name concrète to the music which he
invented, he wanted to demonstrate that this new music started from the concrete
sound material, from heard sound, and then sought to abstract musical values from it.
This is the opposite of classical music, which starts from an abstract conception and
notation leading to a concrete performance. Schaeffer wanted to react against the
`èxcess of abstraction'' of the period but he did not shy away from ``reconquering''
this musical abstract. A reconquering which for him had necessarily to go through a
return to the concrete. (Source - Michel Chion, Guide des Objets Sonores. Eds.
Buchet/Chastel, Paris, 1983, 1995 - translation by John Dack/Christine North)

Group at De Montfort University (2003). Musique Concrète [online]. Address:
Open reel tape recorders
Reel-to-reel or open reel tape recording refers to the form of magnetic tape audio
recording in which the recording medium is held on a reel, rather than being securely
contained within a cassette […] The reel-to-reel format was used in the very earliest
tape recorders, including the pioneering German Magnetophons of the 1930s.
Originally, this format had no name, since all forms of magnetic tape recorders used
it. The name arose only with the need to distinguish it from the several kinds of tape
cartridges or cassettes which were introduced in the early 1960s.
470
wordIQ (2004). Reel-to-reel audio tape recording [online]. Address:

Early tape recorders were first developed in Germany. On Christmas day 1932 the
British Broadcasting Corporation first used a tape recorder for their broadcasts.
Magnetic tape recording as we know it today was developed in Germany during the
late 1930s by the C. Lorenz company […] The typical professional tape recorder of
the early 1950s used 1⁄4" wide tape on 101⁄2" reels, with a capacity of 2400 feet
(731.5 metres). Typical speeds were initially 15 in/s (380 mm/s) yielding 30 minutes'
recording time on a 2400 ft (730 m) reel. 30 in/s (720 mm/s) was used for the highest
quality work.
Standard tape speeds varied by factors of two: 15 and 30 in/s were used for
professional audio recording; 71⁄2 in/s (190 mm/s) for home audiophile prerecorded
tapes; 71⁄2 and 3 3⁄4 in/s (190 and 95 mm/s) for audiophile and consumer recordings
(typically on 7 in or 18 cm reels). 17/8; in/s (42 mm/s) and occasionally even 15/16
in/s (21 mm/s) were used for voice, dictation, and applications where very long
recording times were needed, such as logging police and fire department calls […] A
tape allows multiple tracks in parallel to each other. Because they are carried on the
same medium, they stay in perfect synchronization. This allowed for stereo sound (2
tracks), and quadrophonic sound (4 tracks). In a professional setting today, such as a
studio, audio engineers may use 24 tracks or more for their recordings, one (or more)
tracks for every instrument played.
Magnetic audio tape can be easily and inaudibly spliced. The combination of the
ability to edit via splicing, and the ability to record multiple tracks, revolutionized
studio recording. It became common studio recording practice to record on multiple
tracks, and mix down afterwards. The convenience of tape editing and multitrack
recording led to the rapid adoption of magnetic tape as the primary technology for
commercial musical recordings […] Analog magnetic tape recording introduces
noise, usually called "hiss", caused by the finite size of the magnetic particles in the
tape. There is a direct tradeoff between noise and economics. Signal-to-noise ratio is
reduced at higher speeds and with wider tracks, increased at lower speeds and with
narrower tracks […] Prior to 1963, when Philips introduced the Compact audio
cassette, almost all tape recording had used the reel-to-reel (also called "open reel")
format. Previous attempts package the tape in a convenient cassette that required no
threading met with limited success; the most successful was 8-Track cartridge used
primarily in automobiles for playback only. The Philips Compact audio cassette
added much needed convenience to the tape recording format and quickly came to
dominate the consumer market, although it was lower in quality than open reel
formats.
wordIQ (2004). Sound recording [online]. Address: http://www.wordiq.com/

definition/Sound_recording
471
Recording
Many forms of electroacoustic music making are founded on the use of sound
recording at some stage of their creation. Historically, those forms of electroacoustic
music descended from the musique concrète comprise of studio-based investigation
into recorded sound objects. The processes of sound recording and composing are
frequently impossible to conceive of as entirely independent; recording is part of the
musical creation rather than a documentation of the performance of an existing music
or improvisation.

Group at De Montfort University (2003). Recording [online]. Address:
Sampling
A technique used to capture continuous phenomena, whereby periodic snapshots are

taken. If the sampling rate is fast enough, the human sensory organs cannot discern
the gaps between each snapshot when they are played back. This is the principle
behind motion pictures.
Sampling is the key technique used to digitize analog information. For example,
music CDs are produced by sampling live sound at frequent intervals and then
digitizing each sample. The term sampling is also used to describe a similar process
in digital photography.
Forschungsprojekt "AURIS - Multimedia" (2002). Glossary [online]. Address:

http://arge.tuwien.ac.at/arge/acro.html
Sound art
This term has been used inconsistently throughout the years. Currently it is generally
used to designate sound installations (associated with art galleries and museums),
public sonic art and site-specific sonic art events.

Group at De Montfort University (2003). Sound Art [online]. Address:
472
Sound source
This term is generally associated with ''classical'' electroacoustic composition that

privileges the notion of ''material'', which is investigated and developed during the
compositional process in the studio. In this context Sound Source simply refers to the
physical provenance of such material, for example a vibrating body recorded in the
studio, an environmental recording, or a synthesizer output. It can also refer to the
basic structuring units in a given compositional conception or strategy, for example
sonic grains or vowels and consonants extracted from speech.

Group at De Montfort University (2003). Sound Source [online]. Address:
Synthesizer
An electronic instrument for the production and control of sound that can be used for
the making of music.
Thomson Learning (undated). Glossary of Humanities Terms [online]. Address:

http://lms.thomsonelearning.com/hbcp/glossary/glossary.taf?gid=24&start=s
Any grouping of electronic equipment intended for sound synthesis.

Group at De Montfort University (2003). Synthesizer [online]. Address:
A synthesizer is an electronic musical instrument designed to produce artificially

generated sound […] Synthesizers create sounds through direct manipulation of
electrical currents (as in analog synthesizers), mathematical manipulation of discrete
values using computers (as in software synthesizers), or by a combination of both
methods.
Free-Definition (undated). Synthesizer - definition, meaning, explanation &

information in free-definition.com [online]. Address: http://www.free-definition.com/
Synthesizer.html

Un Voyage Du Son Par Les Fils Electroaco

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UNIVERSITÉ DU QUÉBEC À MONTRÉAL

UN VOYAGE DU SON PAR LES FILS ÉLECTROACOUSTIQUES

L’histoire de la musique électroacoustique latino-américaine est longue, intéressante et

Ayant commencé à travailler dans le domaine de la musique électroacoustique au milieu des

Afin de rendre également accessible au public les œuvres musicales, et sauvegarder le

En complément à cette thèse de doctorat, j'ai développé une collection d'enregistrements

Mots clés : musique électroacoustique ; Amérique latine; art et nouvelles technologies ;

UNIVERSITÉ DU QUÉBEC À MONTRÉAL

A JOURNEY OF SOUND THROUGH THE ELECTROACOUSTIC WIRES

a. RÉSUMÉ EN FRANÇAIS ………………………………………………… ii

CHAPTER I - LATIN AMERICA. ART, REALITY AND UTOPIA

CHAPTER II - METHODOLOGICAL APPROACH

CHAPTER III - CONTEXT

CHAPTER IV - THE CONVERGENCE OF ART, SCIENCE AND NEW

CHAPTER V - 50 YEARS OF MUSIC AND NEW MEDIA IN LATIN

CHAPTER VI - COMPOSERS AND THEIR MUSIC

CHAPTER VII - TRENDS IN MUSIC COMPOSITION INVOLVING

CHAPTER VIII - MUSIC-RELATED TECHNOLOGY AND SCIENCE

LATIN AMERICAN ELECTROACOUSTIC MUSIC COLLECTION …. 368

APPENDIX A: LIST OF INTERVIEWS ………..………..………..……….. 455

Figure 1. Research context and basic relationships. 17

Figure 2. Database entry form (sample page) including fields for: 32

Figure 3. Database entry form (sample page) including fields for: 33

Figure 4. Database entry form (sample page) including fields for: 34

Figure 5. Selection of 30 pieces from the Latin American Electroacoustic 40

Figure 6. One of the sonograms available at the Latin American 41

Figure 7. Economic power relationships with art, innovation and 47

Figure 25. Cover of the book La Electrónica en la Música … y en el Arte 341

Figure 28. Sonogram of Analogías Paraboloides by Pedro Caryevschi, a 344

Table1. Ethnographic research characteristics vs. personal experience and 21

Table 2. Number of composers who have music in the archive of the 38

Table 3. Number of compositions archived at the Daniel Langlois 39

Table 4. Monthly statistics: November 2004, first month online. 43

Table 5. Monthly statistics: December 2004, second month online. 43

Table 6. Monthly statistics: January 2005, third month online. 44

Table 7. Monthly statistics: February 2005, fourth month online. 44

Table 8. Monthly statistics: March 2005, fifth month online. 45

Table 9. Gross domestic product per capita in 25 countries, including 18 51

Table 10. Population below the poverty line in 25 countries, including 18 53

Table 12. Musical compositions created by Argentinian composers 368

Table 13. Musical compositions created by Bolivian composers available 397

Table 14. Musical compositions created by Brazilian composers available 398

Table 15. Musical compositions created by Chilean composers available 405

Table 16. Musical compositions created by Colombian composers 409

Table 17. Musical compositions created by Costa Rican composers 413

Table 18. Musical compositions created by Cuban composers available 414

Table 19. Musical compositions created by Dominican composers 420

Table 20. Musical compositions created by Ecuadorian composers 421

Table 21. Musical compositions created by Salvadoran composers 424

Table 22. Musical compositions created by Guatemalan composers 425

Table 23. Musical compositions created by Mexican composers available 426

Table 24. Musical compositions created by Panamanian composers 433

Table 25. Musical compositions created by Paraguayan composers 433

Table 26. Musical compositions created by Peruvian composers available 434

Table 27. Musical compositions created by Puerto Rican composers 437

Table 28. Musical compositions created by Uruguayan composers 438

Table 29. Musical compositions created by Venezuelan composers 441

CENIDIM: Centro Nacional de Investigación, Documentación e Información Musical Carlos

CLAEM: Centro Latinoamericano de Altos Estudios Musicales, Instituto Torcuato Di Tella

CICMAT: Centro de Investigación en Comunicación Masiva, Arte y Tecnología (Center for

DACP: Desarrollo Artístico Cultural Peruano, Lima, Peru.

DSP: digital signal processing.

FACM - UCA: Facultad de Artes y Ciencias Musicales - Universidad Católica Argentina.