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RedASLA - The Latin American Network for Sonic Arts - Vol V and VI
7 November 2018

Buy CD´s Volumen V Volumen VI


RedASLA - The Latin American Network for Sonic Arts -



RedASLA is the Latin-American Network for Sonic Arts, an organisation started in 1995 and aiming to disseminate worldwide sonic creativity and research from its members.

From RedASLA’s viewpoint, Sonic Art amalgamates any artistic activity focused on sound as the means for creative expression, while providing technology with a primary role in the creative process.

RedASLA embraces Sonic Arts from an open perspective, consciously aiming not to set boundaries or constraints on the variety and broadness of any sonic expression or aesthetic consideration from its members.

This double album is the Vth and VIth published CD since the Network started.




To incorporate new ideas and a diversity of working methodologies are among RedASLA’s primary objectives. More specifically RedASLA aims:

1) To consolidate spaces that foster collaboration and the exchange of ideas between artists who place sound at the centre of their methodology and creative thinking.

2) to fostering and promote worldwide Sonic Arts created by its Latin-American members and to showcase work from other Latin-American artists.

3) to establish institutional relationships and formal exchanges with other artistic associations with similar interests.

4) to organise meeting, concerts, seminars, recordings, publications and any other activity related to Sonic Arts in Latin-America.

5) to become a primary source of information for activities related to Sonic Arts on an international level and with particular reference to activities taking place in Latin-America.

6) to serve as a support centre and institution for artists in need of assistance and backing infrastructure.



The vast majority of pieces proposed for this cultural production can be divided into three types of works:

A first group of compositions that refer to everyday sounds and their sonic environment.

A second type of pieces with a high level of sonic abstraction which apply highly processed electronics to sonic materials, making them unrecognisable; or which make use of electronic sounds that have no connection to the environment.

Finally, there is a third group of works that combine the sounds of the environment with electronic sounds to create an interplay between the sounds of an "everyday" world and those of a "fictitious" one.

This last group shaped the curatorial line since it proposed a dialogue between the works carrying "everyday" sounds as opposed to the pieces that used a timbre palette far removed from the sounds of the environment. To explain it in another way, some works appeared to carry out a representation of "reality", while others projected their identity throughout the imaginary and the fictional.

Having said that, fiction is understood from the perspective of the first two groups. In the first one, "real" sounds project the author's intentionality when constructing the sounds of its environment, while printing its subjectivity. On the other hand, "fiction" linked to electronic sounds can also be understood as a metamorphosis of the soundscape and it can even be seen as a representation of the unique imaginary of the artist.

The third group of pieces submitted to this call for works seems to negotiate everyday sound worlds and imaginary ones, taking to the liminal the theme of representation and including sound images that mostly come from inner worlds.

Otto Castro / Curator



CD 1 - RedASLA - Volumen V

1. s.laag (8’43”) / 2016 - Ricardo Climent (1965- ) España

Para clarinete bajo y game-audio en vivo. Escrita especialmente para Marij Van Gorkom.

2. Homenaje a las ciudades invisibles (4’27”) / 2017 - Otto Castro (1972- ) Costa Rica.

3. 4. 5. Sistemas volátiles / 2011 Adina Izarra (1959- ) Venezuela

3. I. Convolución (4’25”)

4. II. Chiuiui (3’51”)

5. III. Refrán (3’46”)

6. Graffiti (6’00’’) / 2013 - Mauricio Fonseca López (1972- ) Costa Rica

7. Palabras vacías (6’26”) / 2017 - Ricardo de Armas (1957- ) Argentina

8. La otra concertación (13’15”) / 1989 Eduardo Cáceres (1955- ) Chile

9. Words through the worlds (1’04”) / 1997 - Ricardo Dal Farra (1957- ) Argentina. Texto y lectura original: Chris Mann

10. Interlineal (10’46”) / 2017 - Rodrigo Sigal (1971- ) México

Encargo del GRM en 2017 y creada con apoyo del SNCA (México)


CD 2 - RedASLA - Volumen VI

1. Repetition of perception (7’42”) / 2012 - Rodrigo Sigal (1971- ) México.

Creada con fondos del Sistema Nacional de Creadores de Arte 2012-2015

2. Líneas y puntos de otro tiempo (Sin Tiempo IV) (9’03”) / -rev. 2017- Daniel Schachter (1953-) Argentina

3. Residual I (7'25”) / 2017 - Daniel Quaranta (1966- ) Argentina

4. El sueño del GOUL (5’17”) / 2004 - Eleazar Garzón (1948- ) Argentina

5. Fútbol (5’05”) / 2017 - Alejandro Brianza (1989- ) Argentina

6. Quedate con el cambio (1’26’’) / 2017 - Jorge Variego (1975- ) Argentina

7. Listening animals (8'04”) - Alejandro Albornoz (1971- ) Chile

8. posdomingo 02.10.2016 (7'38'') / 2016 - Ana María Romano G. (1971- ) Colombia. Acordeón: Eva Zöllner

9. Islas temporales – Asuntos del alma (a José Vicente Asuar) (9’43”) / 2017 - José Miguel Candela (1968- ) Chile

Acordal – Obsesiva – Lineal – Evocativa

10. Visiones 3 - Tusuq (7’04”) / 2016 Renzo Filinich Orozco (1978- ) Perú

11. Residual II (4’13”) / 2018 - Daniel Quaranta (1966- ) Argentina



CD 1

1. s.laag (8’43”) / 2016

For Bass Clarinet and live game-audio

Bass Clarinet: Marij Van Gorkom, The Netherlands

Composer: Ricardo Climent (1965- ), Valencia



s.laag is an interactive work especially composed for Dutch Bass Clarinettist Marij Van Gorkom, as part of the htttp:// project started in 2015. The piece is a rather abstract aural fingerprint taken from the bass clarinetist and deployed into a game-level replica of the Expo 58's world's fair, where the instrument becomes the player character. Iconic architecture such as, the Philips pavilion and the Atomium, behave as pseudo-NPC musical characters for the player to navigate through. The Dutch word 'laag' means low. However, it also refers to the concepts of layerstratum and thickness, which resonate more within the compositional realm behind this piece. The piece's title s.laag means pass (also in Dutch), and it evokes the sonic fluxus and tortuous labyrinths for interaction between the acoustic instrument and the extended reality in the game-engine environment. s.laag obtained the ICMA European Award 2016, at the ICMC conference in Utrecht. This publication for RedASLA only includes the instrumental and electronic score which corresponds to Level 2 of the live game-audio version.


Ricardo Climent is Professor of Interactive Music Composition at University of Manchester (UK), where he is Head of Composition and has served since 2007 as director of the NOVARS Research Centre. For the last decade his research has focused on the potential of game-audio, physics and graphic engines for compositional purposes, using “the aural” as the primary source for navigation and exploration across the real and virtual. He previously held a lecturing position at SARC (Sonic Arts Research Centre, Belfast), where he also obtained a MusM and PhD in Composition with new technologies. He also holds a 5-year degree in Economics from the University of Valencia. Ricardo was composer in-residence at the JOGV Orchestra (Spain), the Conservatorio de las Rosas Unesco-Aschberg (Morelia, Mexico) and the Sonology Department at the Kunitachi College of Music (Tokyo). During 2017-2021 he is leading one of EASTN-DC Network Partner Institutions (University of Manchester), as part of a Culture Europe Programme on Digital Creativity. |


2. Homenaje a las ciudades invisibles (4’16”) / 2017

Para fagot y electrónica

Fagot: Fernando Zúñiga

Voz: Adriana di Giacomo y Gabrio Zapelli

Composer: Otto Castro (1972- ) Costa Rica



Foto: Adela Marín

Homenaje a las ciudades invisibles proposes an imaginary city through the metaphor of the near and the distant sound. The composition strategy in this piece makes use of the interplay between short bassoon sounds and close sounds of the city landscape, alongside long bassoon sounds juxtaposed with the distant sound texture perceived from the city.


Otto Castro is a PhD student from the Music Technology programme at the UNAM, Mexico, studying with Dr. Rodrigo Sigal Sefchovich as his main supervisor. Castro holds a Master's degree in Music Technology from the UNAM and a degree in Musical Composition from the Universidad de Costa Rica. He was awarded the Nacional de Composición Prize: Aquileo J. Echeverría (2010) and the ACAM Prize (2009) (2010). He has served as peer reviewer or jury member for conferences and competitions such as, The International Computer Music Conference (2012, Ljubljana, Slovenia) and (2016, Sao Paulo, Brazil), as well as at the Musical Composition Seminar or the Sound Art contest (MUCEVI, 2011) among others. In 2002 and 2001 he received the scholarship from the Ministry of Culture in Spain for Ibero-American professionals.


3. 4. 5. Sistemas volátiles / 2011

Dedicated to Mariaceli Navarro

For piccolo flute and live electronics

Composer: Adina Izarra (1959- ) Venezuela


Acknowledgement to Rubén Riera who in 2004 recorded the birdsongs and mixed the third movement, included in Mariaceli Navarro’s final mastering.


Sistemas volátiles

3.      I. Convolución (4’23”)

4.      II. Chiuiui (3’24”)

5.      III. Refrán (3’46”)


Sistema volátiles (2011)

For piccolo flute and live electronics. This piece is entirely based on birdsongs from Venezuela.

1. Convolución: in convolución movement this related digital signal process (convolution) is used to modify a recording of birdsongs from the melodic contour of the piccolo (birdsongs were recorded from a sunrise at Barquisimet, Edo. Lara), both shaping its pitch and rhythmic structure.

2. Chiuiui: this title emerges from the onomatopoeic sound of a paralauta birdsong (from same location). The electronic forces derive from random variations of these birdsongs triggered from the start of the movement.

3. Refrán: In the refrán section, the player triggers a pre-recorded saying via a pedal which is then imitated by the piccolo flute. This movement includes a track with rhythmic variations of the previous birdsongs. The score is structure in modules and the performer must choose these modules two-thirds of the way through the piece.


Adina Izarra is a Venezuelan Composer born in Caracas. In 1989 she obtained a PhD from York University in England. She taught regular courses of Max/Msp for the postgraduate composition programme at the Simón Bolivar University in Caracas until 2016, when she moved to Ecuador. She is currently teaching a programme of electronic music for the BA Music courses at Uartes, University of Arts in Guayaquil, Ecuador. She has also worked with non-musicians, based on the Supercollider software, within a philosophy of freeware for young people.

Adina has written extensively for flute and guitar among other instrumental forces. She is currently concentrating on electronic music, collaborative composition and video art, and many of her works are being played at festivals specialised on these genres.

She has been part of organizations such as Venezuelan contemporary music, the ISCM (executive committee) and the Venezuelan electro acoustic music network?. She is also part of RedASLA (a very active network of Latin-American sound art composers organization) and also is the only woman at the Collegium of Latin American composers.

Her work has always been related to consonance, rather than tonality. Lately she has researched on early music materials and composers such Machaut and Landini. In her electroacoustic work she has a predilection for sounds of nature, especially birds, together with street calls, particularly those of Spanish origin still present in Caracas streets.

Her music has been recorded by BIS Grammophon, and Elektron, (Sweden), Leonardo, (MIT, USA), RedASLA and CMMAS, (México) and Equinoccio,(Venezuela), among many other independent record companies in Venezuela, Argentina, Denmark and Colombia.


6. Graffiti (6’00’’) / 2013

Composer: Mauricio Fonseca López (1972- ) Costa Rica


Musical work commissioned by the Central American Museum of Video art (MUCEVI) for the exhibition “Sound and visual elements of the Central American urban landscape”. Graffiti is a piece for aerosol sprays voice based on the text J’Accuse by Émile Zola, manipulated flute and electroacoustic media. Inspired by the graffiti of Alajuela, the construction of this musical work is carried out from plastic parameters, not musical ones. The piece is moulded via large glissandi gestures to give the impression of the sound being sprinkled, smeared, drawn and spilled. The aerosols sketch textures and recreate chaotic urban settings, which in cases, are not functional either. Voice and flute start to amalgamate this collage that ends up being, in a sense, a mirror of an everyday sound-visual setting.

In 2006, this musical work was presented at the International Festival of Exploratory Music in Bendigo, Australia.


Mauricio Fonseca is a prize-winning Costa Rican composer and guitarist. He pursued studies in Costa Rica, México, Cuba and Brazil.

His work has been performed in Mexico, Argentina, Cuba, Chile, Spain, Estonia, China, France, Australia, Italy, Slovenia among other countries. His projects have been supported by ICAT, the University of Costa Rica, the Ministry of Culture, the Teorética Fund, the Prince Claus Fund and the Spanish and Mexican Embassies.

He holds three collective audio recordings: First Anthology of Costa Rican Electroacoustic Music, recording carried out in collaboration with the ICAT and RedASLA Volume II and III, in cooperation with the CMMAS.

In 2011, he received a nomination by ACAM for his electroacoustic production “Ciudad Victoria”. This very same year, his work “Calicanto” was awarded best National Work, as well as the best International Work prizes by MUCEVI call for works, Spanish Embassy

7. Palabras vacías (6’23”) / 2017

Composer: Ricardo de Armas (1957- ) Argentina



“Empty words”. Does sound have the same representation level as text or visual images? Does a sound depend upon the context, in which it is presented, to acquire a determined level of significance?

This work uses concrete material which was submitted to a variety of digital signal processes. The piece was completed in September 2017.


Ricardo de Armas

Ricardo de Armas is a composer of electroacoustic music, a sound artist, and a cellist, who frequently interacts in his creative work with other means of aesthetic communication, such as performance, dance, musical drama, video, photography and interventions in public places. Since 1988 Ricardo de Armas has played cello with the Provincial Symphonic Orchestra of Bahía Blanca, in parallel with his activity as electroacoustic composer and sound artist. He has received several prizes and mentions for his musical activities.


8. La otra concertación (13’12”)

For acoustic and electroacoustic voice, electric bass and hindu tablas

Voice: Francesca Ancarola 

Electric Bass: Silvio Paredes

Hindu tabla: Merly Donoso

Composer: Eduardo Cáceres (1955- ) Chile



In 1989, this piece was premiered at the Göethe Institute in Santiago, Chile, as part of the Third edition of the Contemporary Music Festival organised by the Agrupación Autónoma Musical ANACRUSA.

This work includes both acoustic and live processed instruments.

After Chile’s military coup in 1973, there were no democratic parliamentary elections until 1989. In that year a new political party called “Partido de la Concertación” (Concentration Party) was born, which amalgamated all political forces against the dictator Pinochet. It was also in that year when I composed my own “Concentration” piece which was informed by different musical styles and sources, ranging from Blues, classical, Jazz, Rock, Metal, Electronic music, Hindu as an statement against 17 years of cultural and artistic dictatorship.


Eduardo Cáceres graduated in composition and studied with Cirilo Vila. He is lecturer at the University of Chile, where he teaches composition, orchestration and applied music, both on the bachelor in music degree and at postgraduate level. He is professor in Sonic Semiotics, Film Music studies at the Catholic University of Chile and professor of orchestration and composition at the Catholic University of Valparaíso. He is a member of the Chilean Composition and Performing Rights Society. Eduardo has written more than 100 works for different musical genres. In 2005, his composition “Cantos Ceremoniales para Aprendiz de Machi” was awarded the Altazor. Eduardo was nominated as artistic ambassador of Valparaíso by the city’s Mayor and the Academy board. He was also awared the UNESCO "Premio Medalla de la Música" by the Chilean Music Board. In 2012, he received the “Presidente de la República” National Music Award and in 2013, he was awarded the “Domingo Santa Cruz” Prize by the Chilean Academy of Fine Arts. In 2014, his Opera “Suyai”, a commission by the Ministry of Culture in Argentina, was premiered in Buenos Aires.



9. Words through the worlds (1’02”) / 1997

Composer: Ricardo Dal Farra (1957- ) Argentina 

Text and original reading: Chris Mann 


Photo: David Ward

Composed in 1997, for the Frog Peak CD Collaborations Project. This piece is based on a 66-second sound file, of poet Chris Mann reading one of his texts. It was created using multiple layers of time expanded and compressed excerpts from the original recording, mixed with that first version. My thanks to Larry Polansky, Chris Mann, and Tom Erbe.


Dr. Ricardo Dal Farra is professor at the Music Department of Concordia University, Canada and founder-director of the Electronic Arts Research Centre (CEIArtE-UNTREF), Argentina. Dal Farra has presented his works in more than 40 countries, and recordings of his pieces are published in 23 international editions (including CDs by Computer Music Journal and Leonardo Music Journal on MIT Press). He received awards and commissions from: Sao Paulo International Arts Biennale, Brazil, and the International Computer Music Association, among others.

Dal Farra has been researcher and consultant on electroacoustic music and media arts history for UNESCO, France; director of Hexagram, Canada; and coordinator of the Multimedia Communication national program at the Federal Ministry of Education, Argentina. Funded by The Daniel Langlois Foundation for Art, Science and Technology of Montreal, he created the largest collection publicly available of Latin American Electroacoustic Music. Dal Farra is founder-director of the international conference series Understanding Visual Music (UVM), and Balance-Unbalance (BunB).


10. Interlineal (10’46”) / 2017

Composer: Rodrigo Sigal (1971- ) México


Photo: Roberto Keller

Commissioned by GRM in 2017 this is work, which is supported by the SNCA (Mexico), is a multichannel piece exploring connecting lines between materials, space and sources. Composed at the Mexican Centre for Music and Sonic Arts (


Rodrigo Sigal, Mexico City – 1971, is a composer and cultural manager interested in working with new technologies especially in the electroacoustic music field. Since 2006, Sigal has been the director of the Mexican Centre for Music and Sonic Arts ( where he coordinates numerous initiatives of creation, education, research and cultural management in relation to sound and music.

Rodrigo earned a doctorate degree from London City University and completed his postdoctoral studies at UNAM. He also earned his diploma in cultural management from the UAM-BID and has continued his studies and creative projects with help from various scholarships and support from institutions like FONCA (he is a SNCA member) and the DeVos Foundation for cultural management, among others. For over 10 years he has taken part in the Lumínico project ( 

He is the director of the “Visiones Sonoras” festival ( and editor of “Sonic Ideas” journal (


Total Duration: 69 minutos

Curator and Coordination: Otto Castro Solano

Mastering: Alejandro Albornoz and Francisco Colasanto

Text Revision (Spanish): Ana Romano G., Mauricio Fonseca y Otto Castro, Ricardo Climent

Text Revision (English): Ricardo Climent and Elaine Kelly

Fotos: Adela Marín Villegas




CD 2


1. Repetition of perception (7’40”) / 2012

Composer: Rodrigo Sigal (1971- ) México

"Repetition of perception" for electroacoustic sounds 2012 ©PRS, UK


While searching for methods of repetition that can operate concurrently in different layers of sound information, I found myself afraid of losing track of what was happening. Therefore I explored ways to allow some levels of repetitions to be evident and others hidden, requiring audience members to discover them in their own way. This is a piece created with funds from the Mexican National Creators Arts System Grant 2012-2015.

“Repetition of perception” para sonidos electroacústicos 2012 ©PRS, UK


2. Líneas y puntos de otro tiempo (Sin Tiempo IV) -rev. 2017- (9’00”)

Composer: Daniel Schachter (1953- ) Argentina



This is the fourth of a series of compositions based on the idea of Time (its subtitle is Sin Tiempo IV) and is related to the appreciation of works by the Argentinian visual artist Enrique González. The piece introduces aural perspectives equivalent to the concept of “points of view” or “focuses” in visual arts. It presents a number of simple sonic elements which coexist with more complex ones, while the latter seem to move in multiple directions in a set of playful textures, where the idea of opposition is central and the aim is to create a quasi motionless atmosphere. The materials used correspond to both concrete sounds and others obtained by synthesis, which are the result of extensive transformation processes.



Daniel Schachter is a composer, professor, researcher and director of the CEPSA Research Centre at the National University of Lanús, Argentina. His compositions have received several awards: Composition Prize of Buenos Aires (1996/97); National Tribune of Electroacoustic Music (1994); National Tribune of Composers (1987); Ibermúsicas (2016). He regularly presents his works in Festivals and Conferences around the world. He was guest composer at the GRM, Paris (1994, 1996, 2006). His writings are published among others by Cambridge University Press (Organized Sound), and Ariel (Madrid). His music is published by IRCO (Buenos Aires), National Fund of Arts (Argentina), Pogus (New York), Elektrons (Stockholm), CMMAS (Mexico) and University of Tennessee (USA).


3. Residual I (7'23”) / 2017

Composer: Daniel Quaranta (1966- ) Argentina


“Residual I” is a work composed of "remains" of sounds that we usually discard. I made a list of sounds that I would have discarded in any other work, from that collection I started working. Many of the sounds were also made with analogue synthesizers Moog Sub37 and VBrazil.


Daniel Quaranta (1966) is an Argentine composer living in Brazil since 1994. He is a professor at the Federal University of Juiz de Fora and the postgraduate programme of UNIRIO, in Rio de Janeiro. His works have been played in different places around the world. He has published two books on music and research and different articles about his research and focused on analysis and processes of musical creativity.


4. El sueño del GOUL (5’15”) / 2004

Composer: Eleazar Garzón (1948- ) Argentina


“El sueño del Goul” is an acousmatic piece produced in 2004 in the private laboratory of the composer. “El sueño del Goul” was made with piano and harpsichord-like sounds, which were transformed using a number of signal processing techniques such as, synthesis granulation, filtering and modulation. The version for this CD is a reduction from an original quadraphonic piece.


Eleazar Garzón was Born in the province of Córdoba. He graduated in Music Higher Education with specialities in harmony and counterpoint at the School of Arts of the National University of Córdoba (UNC). He studied stochastic composition and new compositional algorithms with Professor Cesar Franchisena. Eleazar also obtained a PhD in music composition and he is currently Professor of Composition, as well as Counterpoint in the Faculty of Arts at the National University of Cordoba, Argentina. He is mainly, an electroacoustic composer and his music has been performed in Argentina, Chile, Mexico, United States of America, Canada, United Kingdom, Spain, France, Switzerland, Germany, Sweden, Italy and Singapore.


5. Fútbol (5’02”) / 2017

Composer: Alejandro Brianza (1989- ) Argentina


It doesn't matter your age, gender, degree of interest or the skills you may have for this sport (football). It is in our culture, tradition and in everyday life. Every Argentinian, at least by chance, has heard about soccer, their idols and legends.



Alejandro Brianza is an Argentinian composer, researcher and lecturer. He has a Bachelor in Audiovisual Arts and is a sound technician and recorder player. Alejandro is currently pursuing a Master degree in Methodology of Scientific Research. He teaches at the University of Salvador and the National University of Lanús, where he researches on sound technology, electronic music and contemporary languages. Alejandro has presented his research at conferences and various academic meetings both nationally and internationally. He is part of Andamio, a collaborative platform and member in RedASLA, The Latin American Network for Sonic Arts.


6. Quedate con el cambio (1’24’’) / 2017

Bandoneón: Matías Pedrana

Composer: Jorge Variego (1975- ) Argentina



Literally “Stay with the change” is an urban haiku. The sounds of bandoneón were recorded by Matías Pedrana.


Jorge Variego was born in Rosario, Argentina. He is currently faculty staff in Music Theory/Composition at the University of Tennessee. He pursued research at the Institute of Sonology and was staff at Valley City State University and at the University of Florida. He participated in music festivals such as MATA, SEAMUS, EMS, Holland Festival, Sonoimágenes, and released two solo CDs, Necessity (Albany) and Regress (CMMAS). His music was included in Pendulum (PARMA 2014).


7. Listening animals (8'00”)

Composer: Alejandro Albornoz (1971- ) Chile


 Photo: Alan Gavin, Biztar Productions

“We are animals that listen. We have the sensory-motor abilities to interact with a vibrating world, to resonate with and in it.” Commissioned by Creation and Congnition Musical Laboratory, Universidad Diego Portales, Chile, this piece is part of the research project “Towards a Grammar of Unwritten Music: A Neurophenomenological Approach” (Claudio Fuentes y Federico Schumacher main researchers). Restricted to some sound types and time between sonic events, the commission asked for creative freedom as well. This piece addresses those guidelines through two aims: to be a stimulus for listening experiments and to be an acousmatic piece in its own right.


Alejandro Albornoz is a Chilean composer and sound artist. He studied electroacoustic composition with Federico Schumacher and Rodrigo Sigal in Chile and works on acousmatic and live electronics since 2004. His music has been performed in several and prestigious in Europe and America, including among others Synthèse (Bourges, France), JIEM (Madrid), Bienal Internacional de Música Eletroacústica (São Paulo), Sonoimágenes (Buenos Aires), Sound Junction (Sheffield, UK), Visiones Sonoras (Morelia, México), SIME (Lille, France) and Ai-maako (Chile). Usually he composes for theatre and dance. He currently is a PhD researcher on Electroacoustic Composition in the Department of Music at the University of Sheffield under the supervision of Adam Stanovi? & Adrian Moore. The central topics in his research are the human voice, poetry and language.

8. posdomingo 02.10.2016 (7'36'') / 2016

Acordeón: Eva Zöllner

Composer: Ana María Romano G. (1971- ) Colombia


Photo: Marta Cabrera

“posdomingo 02.10.2016” was originally composed for accordion and 8-channel fixed media but as time went by, I decided that the fixed media part could stand alone as an independent work.

The piece is strongly connected to a historical event in my country: the referendum to validate the peace deal between the Colombian Government and the Revolutionary Armed Forces of Colombia (FARC) after 50 years of conflict. To my surprise and with great sadness, I received the news that, by a very small margin of votes and after a campaign full of misinformation and lies, the peace agreement was not validated.

The premiere included a few programme notes in the form of keywords and tags:

Indolence. Abandonment. Doctrine. Manifestation. Fear.

Tags: Sadness. Pain. Arrogance. Unrest. Hopelessness. Limbo. Instability. Hope. Cynicism. Handling. Scam. Rage. God. Power. Exclusion. Ideology. Monster. Silence. Fear. Memory. Empty.


Ana María Romano G is a Colombian composer. Her creative interests led her to “navigate sound” from numerous perspectives: as a composer or improviser but also as a sonic and interdisciplinary artist. She likes to “contemplate with her ear” and to experiment in order to create. Her approach unfolds without pomposity and in the fragility of the present.

Look to resounding worlds that announce searches along their way. Noise, music, sound, silence? Good travels are welcome in order to amuse the imagination.

She currently teaches at El Bosque University, Colombia. She directs the Festival En Tiempo Real, a platform dedicated to the artistic manifestations involving dialogue across sound and technology. She is the co-founder and co-coordinator of MICROCIRCUITOS Regional Digital Platform.

Ana María has presented her artistic work and lectured at national and international events.


9. Islas temporales – Asuntos del alma (a José Vicente Asuar) (9’41”) / 2017

Acordal – Obsesiva – Lineal – Evocativa

Composer: José Miguel Candela (1968- ) Chile


Photo: Natalia Dintrans

This acousmatic piece was created in 2017. It was composed based on sounds from "Affaires de Oisseaux" by the Chilean composer José Vicente Asuar, to whom the work pays homage, and from the project "ALMA Sounds"; an initiative that seeks to interpret and decode the frequencies of the Universe, transforming them into sound. More information on the latter can be found at http:
This work of indeterminate duration combines in real time four micro-pieces in an aleatoric way, as four "temporary islands” and it decides the time of articulation between them. This combinatorial series allows a total of 3,993,000 possible versions of the work. The "temporary islands" hold the name and freely appropriate the characteristics of the four "Spectral Variations" of Asuar: "Acordal" - "Lineal" - "Evocativa" - "Obsesiva". The present version realized on Monday, October 23th, 2017, especially for this RedASLA CD, has the following structure "Acordal" - "Obsesiva" - "Lineal" - "Evocativa".


José Miguel Candela is a music graduate from the Faculty of Arts, University of Chile. He also holds a Master of Arts and Music from the Pontificia Universidad Católica, Chile. He has composed for film, theatre, and especially for contemporary dance, the latter including more than twenty musical works. He has excelled in the area of electroacoustic music, editing and showcasing his music widely nationally and internationally. In 2012, with Georgia del Campo, he founded the Siniestra Danza project, with a focus on transdisciplinary research and creativity across music and dance. He currently works as an academic at the Department of Dance, the University of Chile.


10. Visiones 3 - Tusuq (7’03”) / 2016

Composer: Renzo Filinich Orozco (1978- ) Perú


 [...] The heart is ready. The world says. I hear the healthy waterfall. I'm ready! He said that Rasu-Ñiti dansak [...] José María Arguedas.

Acousmatic composition, based on the ritual gestures of the Native American scissor dancers from Peru.


One of Renzo Filinich’s main research focuses is the application of new technologies in music to develop new forms of active listening and visual representation. Using spatial representation of sound, he applies it in the cognitive field through the use of gestural interfaces to control sound and performance, informed by the concept of malleability. He has presented his works in many International festivals such as; Días de Música Electroacústica in Portugal 2015, In Vivo Electro Workshop, IRCAM Manifeste 2014 with Robert Henke, acousmatic Forum Hope University - Liverpool 2013, Mixtur Festival - Barcelona 2013, Ai-Maako 2010-2017 - Santiago de Chile, Tsonami Sound Art Festival Valparaíso from 2007 to 2011.


11. Residual ii (4’00” ) / 2018

Composer: Daniel Quaranta (1966- ) Argentina


Residual is a series of works composed of "remains" of sounds that we usually discard. I made a list of sounds that I would have discarded in any other work and from that collection I started working. Up to now there are 2 "movements" of this work. Each one explores a typomorphology of exploited sound. In this case, the rougher sounds are the result of granular synthesis. From this challenge Residual II was composed in 2018.


Daniel Quaranta (1966) is an Argentine composer living in Brazil since 1994. He is a professor at the Federal University of Juiz de Fora and the postgraduate programme of UNIRIO, in Rio de Janeiro. His works have been played in different places around the world. He has published two books on music and research and different articles about his research and focused on analysis and processes of musical creativity.



Total Duration: 68 minutos.

Curator and Coordination: Otto Castro Solano

Mastering: Alejandro Albornoz and Francisco Colasanto

Text Revision (Spanish): Ana Romano G., Mauricio Fonseca y Otto Castro, Ricardo Climent

Text Revision (English): Ricardo Climent and Elaine Kelly

Fotos: Adela Marín Villegas


Este proyecto es financiado por el Programa de Desarrollo Cultural Municipal que es de carácter público, no es patrocinado ni promovido por partido político alguno y sus recursos provienen de los impuestos que pagan todos los contribuyentes. Está prohibido el uso de este programa con fines políticos, electorales, de lucro y otros distintos a los establecidos. Quien haga uso indebido de los recursos de este programa deberá ser denunciado y sancionado de acuerdo con la ley aplicable y ante la autoridad competente


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