Estudio de Música Electroacústica
Azcuénaga 2764 - (1640) Martinez - Buenos Aires - Argentina
Tel: (54-11) 4553-3015 // Email: ricardo@dalfarra.com.ar
Many composers born or living in Latin America have been very active on the electroacoustic/computer music field for a long time. On some countries of the region experiences started around 40 years ago.
Information about composers born or living in Latin America who have been producing electroacoustic and computer music is compiled on this paper. References are sorted by countries, including composers born or living in Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Mexico, Panama, Peru, Puerto Rico, Uruguay and Venezuela.
Introduction
The electroacoustic and computer music field have in Latin America a long, interesting, strong, prolific and not very well known (even inside the region) history. My proposal with this paper is to collaborate to know more about electroacoustic and computer music activities related, in a broad sense, with Latin America.
The following list name composers who had been working with electroacoustic medias and computers on their music. Most of them born in Latin America and are living here at the moment, some are living outside the region, and a few did not born in Latin America but are living here now.
The names listed were taken from bibliographical information, direct or indirect contact with composers and institutions, and program notes from concerts and recordings (for sure that I am not mentioning everyone, as there are many composers that probably should be included here and that I do not know or I forgot unintentionally).
Music and musicians
In Argentina, Mauricio Kagel, César Franchisena and Francisco Kröpfl were experimenting with electroacoustic medias since the '50s. The University of Córdoba and the University of Buenos Aires were main centers of activities at the beginning. During the '60s, the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) at the Instituto Torcuato Di Tella was a meeting point for students and composers from Latin America to learn and exchange ideas with the most interesting composers from Europe and the United States at that moment. Today there are several electroacoustic and computer music studios in Buenos Aires, Córdoba, Rosario, and Santa Fé.
Many composers born in my country have been interested in electroacoustic and computer music composition, some of them are: Daniel Almada ("Linde", vibraphone and tape), Claudio Alsuyet ("Solo Saxo Barítono", sax and live electronics), Jorge Arandia Navarro ("Forma Sonora de Ondina", for tape, soprano, children´s chorus, and instrumental group, 1964), Isabel Aretz ("Yekuana", for 8 voices, orchestra and tape, 1972; "Hombre al Cosmos", for piano and electroacoustics, 1993; now living in Venezuela), Rodolfo Arizaga ("Sonata Breve", for piano and Ondes Martenot, 1958), Oscar Bazán ("Austera", 1973; "El valle de las profecías", 1989), Enrique Belloc ("Rugosidades del inconsciente colectivo", for tape, 1995), Miguel Bellusci (now living in Germany), Eduardo Bértola ("Dynamus", 1970; "Tramos", 1975), Osvaldo Budón ("Para el trato con el desierto", 1992), Miguel Calzón ("Three Winters", for tape, 1991), José Luis Campana ("Imago", 16 voices and tape; now living in France), Cecilia Candia, Edgardo Cantón ("I palpiti", 1966; "Alto y falto", 1977), Ofelia Carranza, Pedro Caryevschi ("Analogias paraboloides", 1970; now living in Israel), Sebastián Castagna ("Intemperie, for tape, 1997), Graciela Castillo ("Diálogos", for two voices, typewriters, radios, and percussion, 1965; "La casa grande", for tape, 1990), Carlos Cerana ("Huellas digitales", clarinet and tape, 1991), Gabriel Cerini, Pablo Cetta ("...que me hiciste mal...", for tape, 1992), Gustavo Chab, Eduardo Checchi ("Reflejos", for tape, 1991), Marcelo Cosentino, Teodoro Cromberg ("Marimbagenes" for marimba and tape), Daniel D'Adamo ("D´ombra", for clarinet and computer, 1997), Ricardo Dal Farra ("Karma", for tape, 1986; "Mel18", live interactive computer music, 1994), Mario Davidovsky ("Synchronisms No.2", for flute, violin, cello, clarinet and electronic sounds, 1964; "Synchronisms No.6", for piano and tape, 1970; he have been living in the U.S.A. for many years), Gustavo Delgado, Marcelo Delgado, Roque de Pedro, Hilda Dianda ("Dos estudios en oposición", for tape, 1959; "...Después el silencio ...", for tape, 1976), Pablo Di Liscia, Gerardo Dirie ("Tu casa o este océano", 1990; now living in the U.S.A.), Hugo Druetta, Pedro Echarte ("Estudiantina", 1965; "El Gran Bonetón", 1966), Oscar Edelstein ("Viril Occidente I", 1987), Mariano Etkin, Carlos Ferpozzi, Beatriz Ferreyra ("Siesta blanca", 1972; "Canto del loco", 1974), Sergio Fidemraizer (he is living in Spain), Juan Carlos Figueiras ("Barlovento", for chamber group and interactive system, 1996), Lionel Filippi ("Canto Americano", for tape, 1972), Héctor Fiore ("Las vaquitas son ajenas", for charango, computer and tape, 1993; now living in Poland), César Franchisena ("Tres momentos mágicos", 1973; "Horeb", 1986; "Canticum", 1988), Martín Fumarola ("El peregrinar de la araña", for tape, 1995), Pablo Furman ("Sureña", for amplified violin and electronics, 1993; he is living in the U.S.A.), Gerardo Gandini, Javier Garavaglia ("Arte Poética (I)", for tape, 1995; now living in Germany), Eleazar Garzón ("La morada del cóndor", 1994), Enrique Gerardi ("Divertimento", for tape, 1967; "Sobre Texturas y Gestos", for 2 flutes, 2 cellos, piano, tape and improvisation group, 1970; "Música entre Músicas", for tape, 1989), Arturo Gervasoni (now living in France), Silvia Goldberg, Luis Jorge Gonzalez (now living in the U.S.A.), Carlos Grätzer ("Nio Aeln", for tape, 1989; he is living in France), Dante Grela ("Glaciación", 1979), José Halac ("India vieja que pretende volverse joven chupando sangre de condor", 1990), Rufo Herrera (he born in Argentina, but have been living in Brazil for many years), David Horta, Alejandro Iglesias Rossi ("Angelus", for tape, 1996), Elsa Justel ("Ischihualasto", 1989; she is living in France), Mauricio Kagel ("Musique de Tour", installation using recorded sounds and light projections, 1954; "Transición II" for piano, percussion and 2 tape recorders, 1958-1959; "Szenario", for strings and tape, 1983; he have been living in Europe for many years), Damián Keller (he is living in Brazil), Armando Krieger, Francisco Kröpfl ("Ejercicio de texturas", electronic sounds, 1960; "Orillas", for tape, 1988), Bernardo Kuczer, Eduardo Kusnir ("La Panadería", 1970; "Buenos días, fué un buen día", 1991; he is living in Venezuela), Marta Lambertini ("Estudio de materia", for tape, 1973), alcides lanza ("interferences I", for two groups of wind instruments and electronic sounds, 1966; "penetrations V", for a minimum of ten sound sources, with voices, lights, electronic sounds, and electronic extensions, 1970; "penetrations VI", for actress-singer, tape and chamber ensemble, 1972; "módulos II", for guitar, voice and electronic sounds on tape, 1982; he have been living in Canada for many years), Javier Leichman, Claudio Lluán, Octavio López ("Compenetración Iridiscente"; he is living in France), Fernando López Lezcano ("Hot'n cold", 1991; now living in the U.S.A.), María Eugenia Luc (she is living in Italy), María Teresa Luengo ("Absolum", for tape, 1973), Eduardo Luisi, Fabián Luna ("3 Cascadas en Transición", 1994), Tomás Luzián ("Estudio Electrónico No. 1", 1984), Ricardo Mandolini ("De mi huían los pájaros", 1983; "La Legende des Clones", 1995; now living in France), Rolando Mañanes ("Viento prenatal", for tape, 1996), José Maranzano ("Mnemón I", 1970), Edgardo Martinez, Patricia Martinez ("Del cuadro a la postergación", 1994), Mario Marcelo Mary ("Endorfina", for tape, 1992; now living in France), Luis Mihovilcevic ("Claxis", 1996), Raúl Minsburg, Daniel Miraglia ("Mona Lisa acelerada", 1996), Jorge Molina, Antonio Moliterni, Nelly Moretto ("Composición 9b", 1966), Luis Mucillo, Luis Naón ("Tango del Desamparo" for piano, cello and tape), Jorge Naparstek, Ricardo Nillni ("Entropogel", for tape, 1988; "Autour de tores", for bass clarinet and tape, 1994; he is living in France), Pablo Ortiz ("Júbilo Secreto", for violin and tape; he is living in the U.S.A.), Juan Carlos Pampin, Graciela Paraskevaídis ("Subliminal", for piano and tape, 1967; she is living in Uruguay), Alberto Paulín, Alberto Perduca, Ricardo Pérez Miró ("Lugares", 1989), Eduardo Piantino, Sergio Poblete, Fernando Polonuer ("Del ser o la nada y esa desesperada búsqueda", for tape, 1996), Guillermo Pozzati, Jorge Rapp ("Cotidiana", 1977; "Evocaciones", 1988), Augusto Rattenbach ("Pulsaciones", for tape, 1974), Ana María Rodriguez, Miguel Angel Rondano ("Danza de los resortes", 1963), Carlos Roqué Alsina ("Etudes", for orchestra and tape, 1978; "Hinterland", for piano, percussion and tape, 1982; he have been living in Europe for many years), Michael Rosas Cobian ("Anaconda", 1990; now living in England), Jorge Rotter ("Montaje I", 1992), Jorge Sad ("Vox I", 1995), Carmelo Saitta (born in Italy), Luis Maria Serra ("Poblaciones", 1987), Daniel Schachter ("Intramuros II", 1995), Eduardo Schlatter ("Estero-Tipos", for percussion and tape), Sergio Schmilovich, Carlos Simkin, Alberto Soriano, Miguel Angel Sugo, Antonio Tauriello ("Dos estudios d'apres Max Ernst", 1986), Eduardo Tejeda ("Estudio Electrónico No. 1", 1968), Daniel Teruggi ("E cosi via", for piano and tape, 1985; "Syrcus", 1992; "Saxtenuto", 1994; he is living in France), Alicia Terzián ("Canto a mi misma", for 20 strings and live electronics, 1987), Virgilio Tosco ("Complejo No. 2", for piano, percussion, recorder and white noise, 1965), Claudio Tripputi, Horacio Vaggione ("Música Electrónica I", electronic sounds, 1960; "Fausto", electronic sounds and orchestra, 1966; "Ash", tape, 1990; he have been living in France for many years), Gabriel Valverde ("Una música, un rumor, un símbolo", for tape, 1984), Osvaldo Vázquez, Mario Verandi ("The peak that flew from afar", installation, objects and tape, 1992; "The ten thousand things" installation, objects and tape, 1994; he is living in England), Julio Viera ("Divertimento III", 1992), Alejandro Viñao ("Go", for tape, 1981; "Chant d'Ailleurs", for soprano and computer, 1992; he have been living in England for many years), Ezequiel Viñao ("La noche de las noches", for string quartet and tape; now living in the U.S.A.), and Daniel Zimbaldo ("Naturaleza muerta", 1984; he is living in Spain).
In Bolivia, Alberto Villalpando (born in La Paz, 1942) is considered one of the main driving forces on contemporary music in his country. He have been working with electroacoustic medias for many years. Some of his pieces are: "Mística No.4" (1971); "Bolivianos..." (1973); "Desde el Jardín de Morador" (1990-91); and "De los Elementos" (1991).
Composers like Agustín Fernandez ("Angel herido", for charango and tape; now living in U.K.), Javier Parrado ("Inti Yana", 1994), Florencio Pozadas ("CM-Op.1", for percussion and tape, 1968), Cergio Prudencio ("Awasqa", for tape, 1986), Juan Siles Hoyos ("Estudio Electroacústico", 1991), Nicolás Suárez ("Chica Aruma", for tape, 1994) and Gerardo Yañez ("Pedazo de Infinito", 1992), have been producing music with electroacoustic and computer medias. There had been also some collaborative works by Sergio Claros with Gastón Ugalde ("Hambre", multimedia, 1992), and Oscar Garcia with Sergio Claros ("ES ZAS", 1993).
In Brazil, Reginaldo Carvalho and Jorge Antunes were pioneers on the electroacoustic music field. "Si bemol" (1956), "Temática" (for tape, 1956), "Troço I" (for tape, 1956), "Troço II" (for tape, 1957), "Alegria de Natal" (for mixed chorus and tape, 1963-64), "Piano Surpresa No.1" (for tape, 1965), "Cleta" (for tape, 1966), "Cemiterio sem Flores" (for tape, 1966) and "Caleidoscópio III" (for tape, 1967) are among the early works by Carvalho (born in 1932). Jorge Antunes composed "Pequena peça para MI bequadro e harmônicos" during 1961, and have been very active working with electronic medias since then; some of his compositions are: "Valsa Sideral" (for tape, 1962), "Cinta Cita" (for tape, 1969), "Proudhonia", (for mixed chorus and tape, 1972), "Catastrophe Ultra-Violette" (for male chorus, orchestra and 3 tapes, 1974); "Intervertige" (for string quartet, wind quintet, 2 percussionists and electronic equipment, 1974); "Mixolydia" (for Theremin and tape, 1995); "Agenda pour un petit futur" (for tape, 1995).
At present there are in Brazil several studios and research groups working on the electroacoustic/computer music field; some of them are based at University of Brasília, State University of Campinas, Federal University of Minas Gerais (at Belo Horizonte), University of São Paulo, Federal University of Bahia (at Salvador), Federal University of Paraíba, Federal University of Rio Grande do Sul (at Porto Alegre), Federal University of Santa Catarina, Federal University of Espírito Santo (at Vitória), and Studio PANaroma at UNESP.
Among the composers who have been working on the field are: Celso Aguiar ("Todo Azul, Escrevo com Lápis Azul, Num Céu Azul", for tape, 1996; born in Palo Alto, U.S.A., he grew up in Salvador, Bahia), Paulo Álvares (now living in Germany), Aluízio Arcela ("/cartas/rs95.car", 1995; "Cinco Hierarquias Espectrais", 1993), Marcelo Birck ("Interludiko", 1990); Rodolfo Caesar ("Curare I"; "Carne da pedra", "Volta Redonda", "Nemietoia"), Guto Caminhoto, Eduardo Campolina, Lindembergue Cardoso ("Captações", for voices, chamber orchestra, turntables and radios), Gilberto Carvalho, Clodomiro Caspary, Fernando Cerqueira, Paulo Chagas ("Ellipse", for tape, 1986; he is now living in Germany), Sérgio Igor Chnee, Rodrigo Cicchelli Velloso ("Latitudes Emaranhadas", 1992-93), Rodolfo Coelho de Souza ("Diálogos", for tape, 1990), Willy Corrêa de Oliveira ("Materiales", 1981), Ilza Maria Costa Nogueira, Luis Carlos Csëko ("Sound", for voice and tape, 1992), Morozowicz Curitiba ("Metáforas", for chorus and tape, 1973), Vânia Dantas Leite ("Vita Vitae", for flute, clarinet, viol, cello, actress and tape, 1975; "Sforzato/Piano", for tape, 1994), Ignácio de Campos (Expassum, for tape, 1997), Jocy de Oliveira ("Estória II", for voice, percussion and tape, 1967; "Polinterações", for video, sculptures, projections, and sound amplification and processing equipments, 1970; "Wave Song", for piano and tape, 1977; "For Cello", for cello and tape, 1996), Raul do Valle ("Encadeamento", for tape, 1979), Rogério Duprat ("Experimental Music", 1963), Aylton Escobar ("Quebradas do Mundaréu", for tape, 1975; "Poética VI", for cello and tape, 1981), Marlene Fernandes ("Espectros Cromáticos"), Sílvio Ferraz ("Casarío, terreiro com igreja ao fundo", for tape, 1995, Sérgio Freire ("Baurembi"), Denise Garcia ("Um dia feito d'agua", 1993), Anselmo Guerra de Almeida ("Proporcões"), Didier Guigue (he born in France), Eduardo Guimarães Alvares ("Estórias", 1987), Rufo Herrera ("Ambitus Mobile I"; he was born in Argentina, but have been living in Brazil for many years), Hubert Hans Hoffmann, Fernando Iazzetta ("PerCurso, for tape, 1996"), Arthur Kampela ("Textórias", 1994; he is now living in the U.S.A.), Damián Keller (born in Argentina; see that section), Hans-Joachim Koellreutter, Fábio Kon, Harry Lamott Crowl Jr. ("Convivium", for tape, 1986), Marc Lannelongue (now living in France), Victor Lazzarini ("Vozes Dentro", for tape, ), Jaceguay Lins ("Noturno"), Jaceguay Lins ("Noturno"), Igor Lintz Maués ("15015", for tape, 1981; "Antes o mundo nao existia", for tape, 1989; "Durch unsere stadt zum tor hinaus" for tape, 1990; he is now living in Austria), Mauricio Alves Loureiro ("On behalf", for piccolo clarinet and tape, 1991), Vanderlei Lucentini, Mikhail Malt ("lambda 3.99", for tape, 1994; now living in France), José Augusto Mannis ("Cyclone", for tape, 1983; "Synapses", for french horn and live electronics, 1987), Jônatas Manzolli ("Luvas de Pelica"; "Turbulências"), Roberto Martins ("Rosa tumultuada", for chorus and tape), Silvia Matheus ("Influx", for tape; she is living in the U.S.A.), Chico Mello ("Todo Santo", 1989; now living in Germany), Gilberto Mendes ("Nascemorre", for mixed chorus, 2 typewriters and tape, 1963; "Santos Football Music", for instruments (orchestra), audience, dinner and 3 magnetic tapes, 1969; "Atualidades: Kreutzer 70 - Homenagem a Beethoven", for dinner (a violinist and a pianist) and tape, 1970; "O Objeto Musical - homenagem a Marcel Duchamp", for fan and electric shaver, 1972), Flo Menezes ("La (de)marche sur le grains", for tape; "Parcours de l'entité", for amplified flutes, metal percussion instruments and digital tape), Ronaldo Miranda ("Canticum Itineris", for voices, old instruments and tape, 1979), Jaime Mirtembaum, Amaro Borges Moreira Filho, Hélcio Müller, Lelo Nazário ("Discurso a os Objetos #2", 1978), Jose Maria Neves ("UN-x-2", for tape, 1971), Gil Nuno Vaz, Jamary Oliveira, Marcos Olívio ("Diálogos", 1980), Eduardo Paiva, Aquiles Pantaleão ("Materialma", 1995; "Concreta", 1997), Luis Roberto Pinheiro ("Fuzuê"), George Randolph, Eduardo Reck Miranda ("Italo Calvino takes Jorges Borges on a taxi journey in Berlin", for tape, 1993; "The Flying Scotsman", for tape, 1996; he is now living in England), Luiz Augusto (Tim) Rescala ("Ponto, Linha e Plano", for clarinet and computer, 1990), Antonio Celso Ribeiro, Frederico Richter ("Metamorfose", "Estudo Eletrônico"), Claudio Santoro ("Quadros sonoros", for tape and paintings with photosensors, 1967-70; "Mutationen II", for piano and tape, 1969; "Estudo para fita magnética", for tape, 1976), Lourival Silvestre ("Tempo Grande", for flute, piano and tape, 1973), Wilson Sukorski ("MEL I", for tape, 1978; "A Batalha de Adrianopolis", 1994), Tato Taborda, Ricardo Tacuchian ("Estruturas Sincréticas", for winds, percussion, slides and electronics, 1970), Antonio Carlos Tavares, Vera Terra, Geraldo Henrique Torres Lima, Livio Tragtenberg ("Missa dos Vermes", for sax and electronics, 1993), Correia Vasconcelos ("Concertante", for percussion, orchestra and tape, 1970), Ernst Widmer ("ENTROncamentos SONoros", for piano, 5 trombones, strings and tape, 1972; born in Europe), Bernadete Zagonel, Edson Zampronha ("Modelagem V", for tape, 1995-96).
Conrado Silva (born in Uruguay, see that section for more references) is another composer who helped the development of electroaocustic music in Brazil.
In Chile were produced some of the first electroacoustic music works of Latin America by León Schidlowsky ("Nacimiento", 1956), Juan Amenabar ("Los peces", 1957), and José Vicente Asuar ("Variaciones espectrales", 1958). Asuar built the first Electronic Music Studio of Chile also during those years.
Since then, Chilean composers like Miguel Aguilar-Ahumada ("Texturas", for piano and tape, 1965), Francesca Ancarola ("Arenas", for tape), Jorge Arriagada ("Chile 1973"), Gustavo Becerra-Schmidt ("Historia de una Provocación", for chamber group and tape, 1972; "Naechtlicher Rat", for one actress, two actors, MIDI guitar and tape, 1988; he is now living in Germany), Gabriel Brncic ("Batucada amenazante para los que huyen", 1969; he is now living in Spain), Eduardo Cáceres ("Metalmambo", 1994), Fernando Carrasco Pantoja, Rolando Cori Traverso ("Fiesta", 1989), Ernesto Holman Grossi, Jorge Martinez Ulloa ("Astillas de bambú"), Mario Mora, Cristián Morales Ossio, Iván Pequeño ("Ahora", 1973), José Pérez de Arce, Guillermo Rifo ("Intento", for flute and tape, 1984), Iris Sangüesa, Juan Carlos Vergara Solar ("Golpe de Luz", 1995) and Santiago Vera-Rivera ("Cirrus", 1978) have been working with electroacoustic medias in their music.
In Colombia, Blas Emilio Atehortúa ("Cantico delle creature", mixed piece from 1965; "Syrigma I", for tape, 1966), Jacqueline Nova ("Resonancias I", for piano and tape, 1969; "Cantos de la creación de la tierra", 1972; she born in Belgium, in 1937, and died in 1975), and Fabio Gonzalez Zuleta ("Ensayo electrónico", for tape, 1965) were some of the first composers to work with electroacoustic music.
Andrés Posada ("Catenaria", for tape, 1990) and Juan Reyes ("Escena 25", "Garabato", "Las Meninas", "Diálogos por Paz", "El Espectador"; born in Bogotá, 1962) have been working during the last years with electroacoustic and computer medias, and also directing electronic music studios, Posada at the University of Manizales (now this studio is closed) and Reyes at the University of los Andes. Ricardo Arias ("Sinfonía Global"), Carlos Mauricio Bejarano ("Aparato I", for tape, 1990; "Anagrams", composed with Juan Reyes), Guillermo Carbo ("Frecuencia modulada", 1960), Gilles Charalambos ("Avalancha desde la edad de piedra", 1990; born in France), Fabio Fuentes ("Pieza para oboe y computador"), Roberto García, Guillermo Gaviria, Victor Hernandez ("El designio de la paz"), Francisco Iovino, Gustavo Lara, Catalina Peralta ("Episodios sin conexión de la vida de un artista", for tape, 1989), Andrés Pinzón Urrea ("LotéoFAGOI"), Andrés Rojas ("Ce sont des rèves liquides"), Ana Maria Romano ("Carreras de aves y pájaros"), Roberto Garcia ("PinPon Romero"), and German Toro ("Vocal I", for tape, 1990), are some of the Colombian composers that have been working with electroacoustic and computer medias on their music.
In Cuba, Juan Blanco (born in 1919) have been the main force around the development of electroacoustic music. Some of his pieces are: "Música para danza", for tape, 1961; "Texturas", for orchestra and tape, 1963-1964; Espacios II", for tape, 1984; "Cinco Epitafios", for tape, 1994. Many of his works asked for spatial distribution of sound sources and complex multimedia installations, like "Poema espacial No. 3", "Contrapunto espacial III" and "Contrapunto espacial IV (Boomerang)".
Edesio Alejandro, Calixto Alvarez, Sergio Barroso ("Yantra VI", for piano and tape, 1976-1979; "Canzona" for DX7II(E!) and TX802 digital synthesizers, 1988; he is now living in Canada), Juan Marcos Blanco, Leo Brower ("Sonata para piano e forte", for piano and tape), Ailem Carbajal, Aurelio de la Vega ("Tangents", for violin and tape, 1973; "Inflorescence", for soprano, bass clarinet and tape, 1976; he is now living in the U.S.A.), Orlando Jacinto Garcia ("Collage", for two guitars, violin, viol and tape, 1990; "Metallic Images" for percussion and tape, 1991; he is now living in the U.S.A.), Argeliers León ("Saturnalia", for tape), Jesús Ortega ("Picassianas I", 1981), Tania León (she is now living in the U.S.A.), Pedro Pablo Pedroso ("Espacio Cerrado"), Ileana Pérez ("Realidades Alternas", multimedia for tape, video, dance and photograph, 1992; "Conversations", for saxophones, bass clarinet, bassoon and tape, 1995; she is now living in the U.S.A.), Alain Perón ("De dos a Lucas", for amplified guitar and tape), Juan Piñera ("Pámpano y cascabel", guitar and tape, 1995), Armando Rodriguez ("Linear", tape; now living in the U.S.A.), Julio Roloff ("Halley 86", for tape; he is now living in the U.S.A.), Julio Ruda, Roberto Valera ("Palma", for tape), and Marietta Veulens ("Paz, meditación y metáfora") are some of the composers born in Cuba that have been working with electroacoustic medias on their music. Composer Carlos Fariñas ("Aguas territoriales", for tape; "Impronta", for piano, 4 percussion players and tape; he is now living in Germany) have been also very active around the electroacoustic and computer music field during the last years.
Native from Dominican Republic, Alejandro José have been crossing the sea to live on his natal land or Puerto Rico alternatively, promoting electroacoustic and computer music in both places. Some of his pieces are: "Tangentes" (for tape, 1988), "Ecofonía I" (for tape, 1992), "Todo es Uno" (for tape and slides, 1995).
From Ecuador, Mesías Maiguaschca (he have been living in Europe for many years) have been working on the electroacoustic music field for many years. He produced tape pieces ("Hör Zu" in 1969; "Ayayayayay" in 1971), mixed compositions ("FMelodies II", for cello, percussion and tape, 1981-1984), and works using live electronics too ("Segundo cuarteto de cuerdas", 1967). Milton Estevez ("Apuntes con refrán", for orchestra and electronic sounds; "Patch 13" for tape, keyboard and percussion), Diego Luzuriaga ("Apabatapabata", for tape, 1986; "Viento en el viento", for 2 flutists, percussion, electronic keyboard and computer, 1994; he is now living in the U.S.A.), and Pablo Freire ("Zeluob 3", for tape) have been also working with electroacoustic and computer medias on their compositions.
In El Salvador, Juan Carlos Mendizabal ("Cinco Vidas y un Preludio"; he is now living in the U.S.A.), Gilberto Orellana ("Variaciones sobre el Tema del Fantasma en el Bosque") and Alex Panama produced some pieces with electroacoustic medias. There were some experiences by Germán Cáceres too.
From Guatemala, Joaquín Orellana produced tape and mixed compositions like "Meteora" (1968), "Humanofonía" (1971), "Primitiva I" (1973) and "Híbrido a presión" (1982). Igor de Gandarias have been working with electroacoustic medias on his music too.
In Mexico, Carlos Jiménez Mabarak composed ("Le Paradis", 1960; "La portentosa vida de la muerte", 1964) some of the first pieces produced with electroacoustic medias.
Héctor Quintanar ("Sideral I", for tape, 1968; "Símbolos", for chamber group, tape, slides and lights, 1969; "Mezcla", for orchestra and tape, 1972) was artistic director of the first electronic music studio, organized during 1969-1970. Technical director was Raúl Pavón ("Fantasía Cósmica", 1982), an engineer interested both in electronics and music who started to promote the use of electronic musical instruments in his country years before that first studio was built.
Among the Mexican composers that have been producing electroacoustic works are: Javier Alvarez ("Papalotl" , for piano and tape; "Temazcal", for maracas and tape; "Así el Acero", for steel drum and tape; he is now living in England), Guillermo Dávalos ("Diálogo"), Manuel de Elías ("Vitral No. 2", for chamber orchestra and tape, 1967), Manuel Enriquez ("La reunión de los saurios", for tape, 1971; "Conjuro", for double bass and tape, 1976-1977; "Díptico I", for flute, piano and tape, 1979; Enriquez was one of the main Mexican composers of instrumental contemporary music), Julio Estrada ("eua'on", for tape, 1980), Bernardo Feldman ("Onírica"), Antonio Fernandez Ros ("Con Jicamo", for tape, 1993), Mario Lavista ("Contrapunto", 1972), Arturo Marquez ("Mutismo", for 2 pianos and tape; "Di-verso", mixmedia for voice, dance and electronic sounds), Eduardo Mata ("Los Huesos Secos", 1963), Victor Manuel Medeles, Samir Menaceri, Roberto Morales-Manzanares ("Agua derramada", for synthesizer and tape, 1984; "Servicio a Domicilio", for piano, synthesizer and computer, 1991; "Nueva", for computer and disklavier, 1994), Francisco Nuñez ("Los logaritmos del danés", for tape, 1968; "Follajes", for violin, cello, double bass and electronics, 1990), Gabriela Ortiz ("El Trompo", for vibraphone and tape, 1994), Manuel Rocha Iturbide ("Atl", for tape, 1990; "Frost clear energy saver", for refrigerator, tape and double bass, 1991; "Transiciones de fase", interactive piece for brass quartet and computer, 1993-1994), Vicente Rojo ("Marabunta", for sax, live electronics, synthesizer, and tape), Antonio Russek ("Para espacios abiertos", 1981; "Luz de invierno", 1988; "Ohtzalán", 1991), Arturo Salinas ("Umbral", 1986), Rodrigo Sigal ("El Firmamento", for piano and tape, 1997), Eduardo Soto Millán ("Silencio de Espejos").
In spite the music by Conlon Nancarrow (born in the U.S.A., he lived in Mexico for more than 50 years) is not directly related to electroacoustic or computer music composition, some of his pieces were presented in concerts through computer controlled electromechanical systems, and there are also computer generated versions from several of his works ("Study #21", "Study #37") by composers like Rick Bidlack and Robert Willey.
From Panama, David Soley (born in Ancon, 1962; he have been living in the U.S.A. for many years) composed several works using computers, as "Torso-trozos", for tape, in 1993, and "Linea", for Zeta violin, Radio Baton, sampler, sample playback and tape, during 1994-95.
In Peru, Cesar Bolaños and Edgar Valcarcel are two of the main names related to the beginning of electronic music.
The first tape piece composed by Bolaños was "Intensidad y Altura" in 1964, produced at the Instituto Torcuato Di Tella of Buenos Aires. Among his compositions there are pieces for tape alone, compositions using live electronics, and multimedia works; some of them are: "Lutero, Yavi", 1965; "Dos en el Mundo", 1966; "Alfa-Omega", 1967; "I-10-AIFG/Rbt-1", 1968; and "Flexum", 1969. Among the pieces composed by Valcarcel: "Cantata", for chorus and tape, 1967; "Invención", for electronic sounds on tape, 1967; "Flor de Sancayo", for piano and electronic sounds on tape, 1976; "Zampoña Sónica", for flute and tape, 1968-1976.
Enrique Pinilla composed "Prisma" at the Columbia-Princeton Electronic Music Center in 1967.
Rajmil Fischman ("Los Dados Eternos", for oboe, tape and real time processing, 1991; "The day after ...", for string quartet and tape, 1995; he is living in England), Celso Garrido Lecca, Alejandro Nuñez Allauca (Gravitación humana", 1970), Olga Pozzi Escot (she have been living in the U.S.A. for many years), Arturo Ruiz del Pozo ("Lago de Totoras"), Pedro Seiji Asato ("Quasar III", for percussion and tape, 1972), and José Roberto Sosaya Wekselman, are also composers who have been working with electroacoustic medias.
In Puerto Rico, Luis Manuel Alvarez ("La Creación", for orchestra and tape, 1974), Rafael Aponte Ledée ("Cuídense de los ángeles que caen", for tape, 1974), Héctor Campos Parsi ("Arawak", for tape, 1970), José Montalvo ("Cuatro Estudios", for oboe and synthesizer, 1983), William Ortiz ("Composición electrónica", for tape, 1978), Roberto Sierra ("Entre terceras", 1988), and Raymond Torres Santos ("Otoao", for tape, 1984) have been producing electroacoustic and computer music works.
Francis Schwartz (born in the U.S.A., 1940), have an important catalog of compositions including mixed music ("Triangular Study", for trumpet, harp and tape, 1971; "Dolor de Muelas", for voice and tape, 1975; "Ergo sum", for flute and tape, 1980), tape pieces ("Caligula", 1975), and multimedia works too ("Auschwitz", for tape, aromas, lights, dancer, temperature manipulation and slides, 1968; "Mon Oeuf", polyartistic creation including video, aromas, electronic sounds, temperature manipulation and special architecture, 1979).
Carlos Vázquez is probably the most active and prolific composer of Puerto Rico working with electronic medias. Some of his pieces are: "Sobre la inmiscusión", for tape, 1975; "Falafel", for percussion, tape and live electronics, 1979; "Alborada isleña", for tape and computer, 1982; "Juracán", for live electronics, 1992; "Los Ciclos de Luisa", for tape, dancer and slides, 1994; "Cantos de Alborada" for piano, double bass and electronic sounds, 1995.
In Uruguay, the first electroacoustic works were produced during the '60s by Coriún Aharonián ("Que", 1969; "Homenaje a la flecha clavada en el pecho de Don Juan Díaz de Solís", 1974; "Apruebo el sol", 1984; "Secas las pilas de todos los timbres", 1995), Sergio Cervetti ("Studies in Silence", 1968; "Raga I", 1971; "Bits & pieces and Moving Parts", 1977; "Something Borrowed, Something Blue...", 1979-1980), and Conrado Silva ("Música para 10 radios portátiles", 1964; "Crónica", 1972; "Ulises", 1973; "Pericón", 1989-1990; now living in Brazil). It should be considered also that during 1961 was premiered "El Misterio del Hombre Solo", a piece by Luis Campodónico for orchestra, chorus and a tape including a recorded text with no electroacoustic processings.
Ariel Martinez (now living in Argentina) composed several electroacoustic works during the '70s. Among them: "El glotón de Pepperland" for tape (1970), produced at the Instituto Torcuato Di Tella of Buenos Aires (CLAEM). Antonio Mastrogiovanni composed "Secuencial II" (1970) also at the same center in Buenos Aires. While León Biriotti composed "En la morada de la muerte" on the early '70s, he is still active producing mixed pieces (for oboe and tape; chorus, orchestra and tape; etc.) and works using live electronics too ("Self-portrait", for oboe and live electronics, 1994).
Composers like Alejandro Barbot, Jorge Camiruaga, Fernando Cóndon ("Suiana Wanka", 1981), Leonardo Croatto, Carlos da Silveira ("Así nomás", 1976), Ernesto Donas, Ulises Ferretti, Luis Jure, Jaime Kuckierwar, Diego Legrand, Beatriz Lockhart ("Ejercicio I", 1970), Alberto Macadar, Daniel Maggiolo, Leo Maslíah ("Llanto", 1980; "Africa tuya", 1992), Graciela Paraskevaidis (she was born in Argentina), Carlos Pellegrino ("Sin", 1974), Renée Pietrafesa ("Meditación", 1973), Marino Rivero ("Juegos extraños", 1977), Pablo Sotuyo ("Retratos", 1989), and Héctor Tosar ("La gran flauta", 1988; he is one of the big names among the Uruguayan composers of contemporary instrumental music), have been working on the electroacoustic music field too.
In Venezuela, during 1966-1967 was organized the Estudio de Fonología Musical of Instituto Nacional de Cultura y Bellas Artes (INCIBA) by José Vicente Asuar (from Chile; see his references on that section) and Alfredo del Monaco (born in Caracas), who composed on that studio "Cromofonías I" in 1967, being the first electroacoustic piece produced on that country. Other pieces by del Mónaco are: "Estudio electrónico I", for tape, 1967-1968; "Alternancias", for violin, viol, cello, piano and electronic sounds on tape, 1971; "Syntagma (A)", for trombone and electronic sounds on tape, 1972.
Also on that first electronic music studio at Caracas, Isabel Aretz (born in Argentina) composed "Birimbao", a piece for timpanis and tape. That laboratory was then closed, but after some time another studio was organized being composer Antonio Estévez the director (some of his works are: "Cosmovibrafonía I", "Cosmovibrafonía II", and "Cromovibrafonía múltiple"). Later, Eduardo Kusnir (born in Buenos Aires, Argentina; see also the Argentina's references) started more sustained activities on the field.
Some of the composers who have been also composing with electroacoustic and computer medias are: Diana Arismendi ("Parábolas", for tape, 1980), Josefina Benedetti ("La Muerte del Delfín", for tape and slides, 1994), Roberto Cedeño, Roberto Chacón, Alvaro Cordero ("Deambulando", for harp and electronic processings), Raúl Delgado Estevez ("Primeletropus", for piano, flute and synthesizer, 1975), Juan de Dios López ("Al borde del abismo", for double bass and electronic sounds, 1990), Julio D'Escrivan ("Salto Mortal", fort tape, 1989), Leonidas D'Santiago, Adina Izarra ("Vojm", for femenine voice and effects), Ricardo Lorenz, Alfredo Marcano, Servio Marin ("Impresiones fugitivas", 1976; "Retour au silence", 1985; now living in the U.S.A.), Gustavo Matamoros ("Truly Yours" for xylophone and tape, 1987; "Con el dedo en el timbre", multimedia with MIDI wind controller, amplified violin, percussion, dancer and light designer, 1990; "Ventanas de Contacto", for amplified double bass and gated tape, 1994; he is now living in the U.S.A.), Musikautomatika (experimental electroacoustic group with Alvise Sacchi, Luis Levin, Mirella Lopez, and Stefano Gramitto), Fidel Rodríguez Legendre ("Doble operativo", for vibes and video tape, 1995), Alfredo Rugeles ("Thingsphonia", for tape, 1978), Federico Ruíz ("Rebelion de Compases"), Juan Francisco Sans, Edgar Saume, Rodrigo Segnini-Sequera ("Pekuek", for synthesizer and electronics, 1994; "Madriz", for tape, 1996), Jacky Schreiber ("Seseribo", for tape, 1983; "Serie feedback", for synthesizer and video camera, 1992-93; "Un Mundo dentro de un Mundo", for voice and tape, 1994), Adrián Suárez Pérez ("La piel de Petare", for actress, tape electronic processings, 1995), Ricardo Teruel ("Nuestra cultura vegeta", for tape, 1976; "Pájaro bobo", for tape, 1987), Alonso Toro ("No me perdonan", 1995), Numa Tortolero, Victor Varela.
Final comments
My intention with this paper is to present a beginning, a start for further communication among latinamerican composers themselves, and between the world community of artists interested on the same field: the electroacoustic and computer music area.
This research have no intention at all to discriminate nobody, to split nothing, or to divide groups. Nothing far away from my point of view and my wishes, the only idea here is to contribute to be integrated, to know more, to be communicated, and in contact with each other.
Last revision: August of 1997.
Acknowledgments
I wish to thanks all the people who helped on this research through the years. Special thanks to Jorge Antunes, José Augusto Mannis and Igor Lintz Maués (Brazil), Pablo Sotuyo (Uruguay), Rodrigo Segnini-Sequera (Venezuela), Aurelio Tello (Peru-Mexico), Mario Mary and Martín Fumarola (Argentina), Angel Duarte (El Salvador), and Juan Reyes (Colombia).
Bibliography
Published on the Proceedings of the International Symposium on Electronic Arts (ISEA'97) held at Chicago in September 1997