Graciela Castillo (born 1940) is an Argentine electroacoustic composer.
Graciela Castillo was born in Córdoba, Argentina. She was educated in her native city at the Conservsatorio de Musica Juan Sebastian Bach and the National University of Córdoba. Her teachers included composers César Franchisena and Francisco Kröpfl; violinist and conductor Zlatko Topolsky; and composer and pianist Nicolás Alfredo Alessio. She alo studied with Alfredo Luis Nihoul, and Ornella Ballestreri de Devoto. [1]
In the mid-1960s, she was among a group of composers that created the Experimental Music Center (Centro de Música Experimental) at the National University of Córdoba. She composed music at the center, and later took a position as Professor of Composition and Music Analysis at the National University. [2] [3] [4]
Selected works include:
Juan María Solare is an Argentine composer and pianist.
Several styles of the traditional music of Venezuela, such as salsa and merengue, are common to its Caribbean neighbors. Perhaps the most typical Venezuelan music is joropo, a rural form which originated in the llanos, or plains.
Electroacoustic music is a genre of popular and Western art music in which composers use technology to manipulate the timbres of acoustic sounds, sometimes by using audio signal processing, such as reverb or harmonizing, on acoustical instruments. It originated around the middle of the 20th century, following the incorporation of electric sound production into compositional practice. The initial developments in electroacoustic music composition to fixed media during the 20th century are associated with the activities of the Groupe de recherches musicales at the ORTF in Paris, the home of musique concrète, the Studio for Electronic Music in Cologne, where the focus was on the composition of elektronische Musik, and the Columbia-Princeton Electronic Music Center in New York City, where tape music, electronic music, and computer music were all explored. Practical electronic music instruments began to appear in the early 20th century.
Horacio Vaggione is an Argentinian composer of electroacoustic and instrumental music who specializes in micromontage, granular synthesis, and microsound and whose pieces are often scored for performers and computers.
Point of No Return [5' 00"] is a "ballet for tape (stereo)" composed by Juan Maria Solare. It was designed in Worpswede from January 24, 2002 to January 28, 2002, with details released on March 14, 2002, and made in Cologne at the composer's studio from September 29 to October 5, 2005. Its first performance was on April 13, 2003 at the Akademie für Tonkunst in Darmstadt, Germany, in the frame of the concert "Begegnung mit Lateinamerika - Elektroakustische Musik", on the 57th day of the Institut für neue Musik und Musikerziehung. It was a mixer in 8-canals by the composer.
Cristóbal Halffter Jiménez-Encina was a Spanish classical composer. He was the nephew of two other composers, Rodolfo and Ernesto Halffter and is regarded as the most important Spanish composer of the generation of composers designated the Generación del 51.
Jorge Manuel Marques Peixinho Rosado was a Portuguese composer, pianist and conductor.
Tomás Marco Aragón is a Spanish composer and writer on music.
Rafael Leonardo Junchaya Rojas is a Peruvian composer, conductor, and researcher.
Alejandro López Román is a Spanish composer and pianist. Musician of eclectic style, his works cover both current symphonic composition like jazz or film music.
Edson Zampronha is a Brazilian composer dedicated to contemporary experimental music. His works include pieces for orchestra, symphonic band, electroacoustic music, chamber music, sound installations, interactive works and music for films. His music makes an extensive use of rhetoric strategies to create new forms of musical tensions and musical discourses. His research focus on musical signification and it takes semiotics, music theory and technology as backgrounds.
Alicia Urreta was a Mexican pianist, music educator, and composer.
Jacqueline Nova Sondag (1935–1975) was a Colombian musician, author and composer. She is often cited as having initiated Colombia's electroacoustic musical practices.
Graciela Paraskevaidis was an Argentine writer and composer of Greek ancestry who lived and worked in Uruguay.
Mariano Etkin (1943–2016) was an Argentine composer.
Mauricio Sotelo is a Spanish composer and conductor.
Jaime Reis is a composer from Lisbon, Portugal whose music has been presented in Portugal, Poland, Turkey, Brazil, Singapore, Hong Kong, Taiwan, France, Austria, Ukraine and Belgium.
Bernardo Mario Kuczer was an Argentinian composer, music theoretician and architect.
Jorge Luis Farjat is an Argentinian producer of audiovisual and literary works, mainly dedicated to his theory about the audiovisual art, which is understood to be the language aesthetics that combines fixed images (photography) with sound, especially music, in a whole organized montage and shown under the same conditions as cinema. His audiovisual works comprise several periods and amount to twenty-six productions of mean and long duration, mostly documentaries. His literary work includes seventeen books which belong to the Audiovisual Art and Memory Collection, and which are about his audiovisual theory development, the immigration history, and philosophy, such as Migraciones y supervivencia or, art in general, such as La crisis y deshumanización del arte en el siglo XX. Su manifestación en la música The crisis and dehumanization of art in the 20th century: its representation in music. The books in this collection were declared of cultural interest by the Government of the Province of Buenos Aires.
Iris Sanguesa de Ichasso is a Chilean composer, pianist and percussionist. She was one of the first women to study at the Torcuato Di Tella Institute’s Centro Latinamericano de Altos Estudios Musicales (CLAEM), where she composed several multimedia pieces. She is known professionally as Iris Sanguesa.