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From enero 1º 2014 to marzo 19º 2015

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Track 1

"Miniatura para danza nº1 (a Georgia Del Campo)” by José Miguel Candela




"The Church says: the body is a fault. Science says: the body is a machine. Advertising says: the body is a business. The body says: I am a party. " [Galeano, E. (1993). Las palabras andantes (Ventana sobre la memoria I). Catálogos. Argentina]. The work was composed in 2011 and premiered in Chile in 2012.


José Miguel Candela (Chile, 1968) has a degree in Music from the Universidad de Chile. He attended several courses with Gustavo Becerra-Schmidt. As a composer he has excelled in the field of electroacoustic music. He was coordinator and founder of Comunidad Electroacústica de Chile, and organizer of the Festival "Ai-maako". His music has been performed in Chile and in various parts of America and Europe and has been published in several CDs (solo and compilations) in Chile and abroad.




Track 2

Raíces lejanas, tal vez… (in memoriam Luis Zubillaga) by Daniel Schachter




Distant roots, maybe… is a sonic voyage of remembrance and homage to the friendship between the composer and Luis Zubillaga (1928-1995). A prominent Argentinian musician with an extensive career as composer, teacher and researcher in Argentina and Venezuela. The piece searches for Zubillaga as artist, elaborating on his ideas, questioning their origin and fate. The materials employed, manipulated and transformed, correspond to his works ‘Ambientes’ and ‘Direccionales’, plus sounds from ethnic sources close to his research interests.


Daniel Schachter is a composer, teacher and researcher, co-director of the 'Festival Sonoimágenes’ and director of the CEPSA Research Centre at the University of Lanús, Argentina. He has been awarded the Composition Prize of the City of Buenos Aires in 1996/7, ‘Tribuna Nacional’ for electroacustic music in 1994 and the ‘Tribuna Nacional de Compositores’ in 1987,  in Argentina. He was a commissioned guest composer of GRM, Paris both in 1994 and 2006. His writings have been published in journals of Cambridge University Press (Organised Sound) and the University of Lanús. His music is published by IRCO in Buenos Aires, Pogus in New York, Elektrons in Stockholm, CMMAS in México and RedAsla.




Track 3

Sombras de tinta” Pieza cotidiana #2 for numeric band by Mirtru Escalona Mijares




This work was composed in 2005. It is part of a daily cycle of pieces, which have as their main source, sounds produced by objects and / or machines that are with us every day. The sounds that are handled and treated in the elaboration of the piece are intended to sublimate and to create a poetic work.


Mirtru Escalona Mijares (Venezuela 1976) studied composition in Venezuela and France.

His works are published by the editorial BabelScores, and have been recognized in several international competitions and are regularly performed at prestigious venues and festivals in Europe, USA and Latin America. Among his main musical concerns, Mirtru explores the limit of audibility as a source of expression, searching for a poetic and spiritual music world.




Track 4

'Brain in pulse’ by Rodrigo Sigal




Looping structures that generate a pulse we cannot grasp until patterns begin to emerge.  This emergence is subtle and allows the listener to relate and thus interpret various layers of musical information. The piece aims to work pulse within defined spectral areas, and by repetitions where the superimposition of elements and the exchange of musical function constitute the creative space for exploration. This piece was created as a member of the SNCA-FONCA in 2012.


Rodrigo Sigal (1971) is a Mexican composer who directs the Mexican Centre for Music and Sonic Arts–CMMAS ( He specialises in the electroacoustic mixed genre and the ‘Luminico’ project ( as a area for exploration into the possibilities of music technology. He holds a doctorate in electroacoustic composition and a specialisation in cultural enterprise. For more information visit




Track 5

"Estudio sobre Ritmo y Espacio" by Ricardo Dal Farra




This short piece was made using two sounds, one appears throughout the whole composition and the other only during the final seconds. The recording was made in real time. Any mixing or editing was subsequently made to the original take. The Estudio sobre Ritmo y Espacio was released in 1982 during a broadcast on the Radio Nacional in Argentina.


Dr. Ricardo Dal Farra is Professor at Concordia University, Canada, and director of the Center for Research in Electronic Arts at CEIArtE-UNTREF in Argentina. He was Director of the Hexagram Centre for Research-Creation in Media Arts, Canada, Coordinator of Multimedia Communication department of the Ministry of Education of Argentina and researcher at UNESCO, France. His work has been honored by the International Computer Music Association. He created the Colección de Música Electroacústica de Compositores Latinoamericanos that hosts the Daniel Langlois Foundation.




Track 6

Primer Zibaldone’ by Adina Izarra




Written for the Venezuelan archlutenist Ruben Riera in 2013, this work comprises two movements, Tocata and Preludio, based on the same material. In the baroque era, a Zibaldone was a sketchbook of musical annotations from which the composer could quickly extract many of their ideas, re-using them in different contexts. The electronic part is improvised in performance from an ‘electronic zibaldone’.


Adina Izarra is a Venezuelan composer. She holds a PhD in Composition from the University of York, England. She is a full professor at the Simón Bolívar University in Caracas, Venezuela where she directs its Digital Laboratory of Music. She has worked extensively in electroacoustic music with an emphasis in interactivity, collaborative composition and video-art. Recent artistic residences include her stay at CMMAS, in Morelia México and being invited as a Visiting Professor by the Sound-Music-Image Research Centre of the University of Huddersfield in England in 2014. She is an active member of the Latinamerican Sound Art Network, RedASLA.




Track 7

"La jungla" (for piano and orquesta de ajubitas) by Jorge Variego




"La jungla" is an automated algorithmic composition that combines textures of varying density with the manipulation of samples in real time. Written in SuperCollider, the piece uses a library of sounds taken from the book 'Apuntes sobre nuevos recursos tímbricos para instrumentos de cuerda frotada' by Marcelo Ajubita.


Jorge Variego earned his doctorate in composition at the University of Florida and his master's degree in clarinet and composition at Carnegie Mellon University, where he attended as a Fulbright scholar. He did research at the Institute of Sonology and is currently a faculty member at the University of Tennessee. As part of his activities as a clarinetist and composer, in July 2014 he premiered his Líneas y manchas with the Orquesta Sinfónica Provincial de Rosario. Web:




Tracks 8, 9 y 10

"Cantos rockeros ceremoniales" by Eduardo Cáceres (in three movements) for female chorus, ten electric guitars and four electric basses.


Track 8 1:58

Track 9 2:39

Track 10 2:28


Is a choral work scored for female voices as it refers to the initiation rites of the ‘machis’ or female shamans of the Mapuche people. The texts in Mapuzungun are by Elikura Chihuailaf, a poet who writes in the Mapuche native tongue. The writing is of a mystical nature that alludes to tradition as well as the ancestors that are said to inhabit the forests. The use of the rock genre in the composition establishes a poetic link with the Mapuche culture as it has rather become a counterculture in Chile.


Eduardo Cáceres is a Professor in Composition and Orchestration at the University of Chile in Valparaíso. He has been director of the Composition degree and Electronic music laboratory for ten years. He created both the Cultural Enterprise and the Conducting postgraduate programmes. Cáceres has directed the programme in Creation and research and Diploma in Film. He has composed ninety works for various formats, and has been given awards, obtained scholarships and premiered pieces in Chile,  America, Europe and Australia as well as being a member of international jury panels. His works are published in thirty-four CDs in the USA, Brazil, Mexico and Canada. Between 1982 and 1995 y studied and world in Germany. He has organised eight-hundred concerts of contemporary music and has been the Director of the International Contemporary Music Festival of the University of Chile for twelve years. He has been director of the ‘Ensamble Bartók’, founder of the ‘Ensamble Trok-Kyo’, winner of the ‘ALTAZOR’ prize and Ambassador of Valparaíso.




Track 11

Ramas relatan ruidos, ríos rumores, rocas rugen” by Ana María Romano G.




This work is built upon the principle of simultaneity of events and the natural mutation of these in time. Its sources are samples of acoustic and electric guitars, clarinet and voices. Space is an essential component for the generation of timbre and the transformation of sonic material while at the same time it transfers behaviours to the core of the resultant textures. It is advisable to listen to this music with eyes closed. The piece was created in the composer’s studio in 2013.


Ana María Romano G. is a Colombian composer. Her creative interests have lead her to work with acoustic and electroacoustic media and to participate constantly in projects involving contemporary dance, performance and video-dance. She regularly participates in improvisation sessions with international artists. Some of her works have been presented, published and award-winning both in and outside of Colombia. She has been invited as a speaker, workshop leader and curator by different academic and cultural institutions. At present, she directs the ‘En Tiempo Real’ Festival, which is open to contemporary sonic art from a variety of perspectives. She is Professor at Universidad El Bosque.




Track 12

Anónimo' for flute, english Horn, clarinet, cello or bassoon, by Arturo Rodas




I wanted to change “a certain piece by an anonymous author” for "Anonymous by Arturo Rodas”. In this music there is also an element of mystery and unlikelihood, perhaps reflecting bolts from an ancient trunk and names that could have been and whose music will keep us company until the, as of yet, anonymous asteroid ends our turn on earth. This piece is performed by the Ensemble SurPlus, Freiburg, Germany and edited by


Arturo Rodas is an Ecuadorian composer, of French nationality, living in London.




Track 13

Encuentros II’ by Otto Castro




In 1998, I composed “Televised Encounters’, a sound work critical of Costa Rican TV programming, Thus confronting a media industry for their sensationalist, culturally poor and unpolished work. For this new piece, ‘Encuentros II’, I revisit soundscapes previously developed in ‘Televised Encounters’, achieving an echoing and proximal rhetoric re-interpretation of these.


At present, Otto Castro is working towards an M.A. in Music Technology at the Universidad Nacional Autónoma of Mexico (UNAM) in Mexico City, D.F., under the supervision of Dr. Rodrigo Sigal. He already holds an M.A. of the University of Costa Rica in Critical Thinking in the Arts, where he is also a Lecturer at the School of Musical Arts and director of the C.E.S. research program. In 2012 he won the Costa Rica National Prize for Composition. He is a founder-member of the Costa Rican Sound Art Network ‘Oscilador’. For more information visit:




Tracks 14 y 15

"2 Image-to-sound Conversions, for General MIDI (2013) by Luiz Casteloes


Track 14 - Estudo Cancelas



Track 15 - Estudo Ouvidor (Ringtone)



Estudo Cancelas: Electronica "Vintage". Image-to-sound conversion based on the photograph of a dance location (at "Beco das Cancelas", Rio de Janeiro, Brazil);


Estudo Ouvidor (Ringtone): Free Ringtone for your mobile phone. Image-to-sound conversion based on the photograph of a dance location (at "Rua do Ouvidor", Rio de Janeiro, Brazil)


Brazilian Composer, Professor at UFJF (Brazil) since September 2009. DMA (Boston University, 2009), MM and BM (UNIRIO, 2004, 2001). Recent performances/recordings by: Quartetto Maurice (Italy, 2014), Ensemble Arsenale (Italy, 2013)

Orquestra da Unicamp (Brazil, 2013-12), UFPB string quintet (Brazil, 2013), Duo Amrein-Henneberger (Germany, 2012), and Freisinger Chamber Orchestra (USA, 2009). Recent articles published by: Sonic Ideas (Mexico, 2014)

El oído pensante (Argentina, 2013), and IRASM (Croatia, 2009). Research interests: Musical Onomatopoeia, Algorithmic Composition, Collage, and Popular Music.




Track 16

Fragtraz' by José Urgilés




Fragtraz is an acousmatic work based on fragmentation and juxtaposition of sound objects. Chosen from various sources like urban environments, loops and weapons, they are organised and developed by linking procedures. The musical discourse arises as a result of organising groups of sounds and textures that interact and change through fragmentation. The music was completed during the composer’s residence at CMMAS in the month of July 2012.


José Urgilés is a composer from Ecuador. He is a Licentiate in Musical Composition of the University of Cuenca where he studied with Paula Canova and Arturo Rodas. For his Master’s degree he studied with Mesías Maiguashca, Juan Campoverde and Rodrigo Sigal. His works include both acoustic and electroacoustic compositions. In recent years his interest surrounds the application of new technologies for the creation of interdisciplinary art work. At present he is a member of the Medialab of the University of Cuenca, Ecuador.





Bonus tracks .wav (220 Mb)


Bonus track 1

Waveforms" by Ricardo de Armas




The piece is an incidental sound design for an installation by Ana Paula Hall. The work as a whole tries to find a new meaning to waveforms (graphical representations of sound) using the corporeal possibilities of the textile. It is especially composed to be listened with headphones. Additionally, the spatiality of the composition intends to describe a circular motion.


Sound artist, composer and cellist, Ricardo de Armas studied in Argentina, Brazil and Spain. He graduated from the Conservatorio Provincial J. J. Castro. Since 1988 he is member of the Orquesta Sinfónica Provincial de Bahía Blanca. His works have been released in several countries and have obtained selections, mentions and awards in major international electroacoustic composition competitions. He is coordinator of the Bahia[in]Sonora Festival.




Bonus track 2

Nacar’ by Fabián Esteban Luna




This piece is written for flute to be processed in real time, using the SuperCollider programming language, and intended for quadraphonic spatialisation. In this music, the austere tone-colour of the flute undergoes processes that highlight timbral features in real time. During the development of the piece, several interaction scenarios between the amplified source and the processed result are presented to the flautist. His actions are then fed-back into the system resulting in a third level of interpretation. In this recording, the flute is performed by Saúl Martín (www.saulmartí


Fabián Esteban Luna is a composer and musician from Argentina. He is an active researcher and university professor in fields that encompass sound technology, multimedia, programming and film sound design. At present he is studying for a Master’s degree in Music Psychology at the National University of La Plata. He founded the composers collectives known as Poliedro ( and Poliedro Online He has published and presented papers at national and international conferences as well as festivals in and outside of Argentina.




Bonus track 3

"A SU Árbol Retorno” by Alejandro Albornoz




This work was created in 2006. Since the piece is dependent on the premise of avoiding the use of acoustic recordings, it uses materials generated exclusively through software synthesis that is deployed in the music through acousmatic criteria and techniques.  Enabled by a notion of internal spatialisation, the structure of the music embarks on a sonic voyage from pointillism to pitch-space saturation. The work is a heartfelt homage to Chilean Composer and Electroacoustic music pioneer José Vicente Asuar. 


Alejandro Albornoz is a Chilean composer and sound artist, Licentiate in Visual Arts. He studied electroacoustic composition with Rodrigo Sigal and Federico Schumacher. He has worked in both aacousmatics and live electronics since 2004. He has participated in prestigious festivals like ‘Synthése’ (Bourges, France), JIEM (Madrid) and BIMESP (Sâo Paulo, Brazil). He is a member of the Electroacoustic Community of Chile and of the Latin-American sound art network RedASLA. He regularly composes for dance and theatre. For more information:;




Bonus track 4

"Re – visitando Annette” by Raúl Minsburg




This work was commissioned by Francis Dhomont to celebrate the 65th birthday of Annette Vande Gorne.


Raúl Minsburg has won several national and international awards. He was recently awarded the Premio Municipal de Buenos Aires. He works as a teacher and researcher at the Universidad Nacional de Lanús and at the Universidad Nacional de Tres de Febrero. He is a founding member of the Red de Arte Sonoro Latinoamericano (RedASLa) and coordinator of the Baia[in]Sonora festival. His work is featured in many collective recordings. In 2009 he published his monograph album "Entre sueños"




Bonus track 5

"Pequeños rituales" by Eleazar Garzon




Pequeños rituales are short daily scenes in thumbnail format that transit the sonic universe from soundscape to pure abstraction.


Born in the city of Córdoba, Argentina, Eleazar earned his degree in composition at the Facultad de Artes de la Universidad Nacional de Córdoba. He serves as Professor in the Departments of Composition and Counterpoint. He studied new compositional algorithms with Professor Cesar Franchisena. His music has been performed at festivals in Argentina, Chile, México, United States of America, United Kingdom, France, Spain, Italy, Germany and Canada.




Bonus track 6


Glosa de clímax púrpura” by Bryan Holmes




This work won the Brazilian Prêmio Funarte de Composição Clássica 2012, and was premiered during the XXª Bienal de Música Brasileira Contemporânea. Within the piece, sounds of various cultures coexist creating layered and complex textures. Its climax serves as a structural articulation point through which accumulated tension is liberated, and followed by a gentle coda. Materials used comprise: synthesis, thunder drum, psaltery, and tibetan bowls recorded by the composer; Field recordings by Fernando Godoy; samples of rock songs; sounds from the Mapuche Sample Library at


Bryan Holmes is a Chilean composer, researcher, producer and academic now living and working in Brazil. He is a Licentiate and MA in Music by PUCV-Chile and UNIRIO-Brazil, respectively. He is working towards a doctorate since 2014. He has had awards, commission, publishing deals, recordings and performances in four continents. He is frequently invited to music festivals as performer, curator and speaker as well as presenting at conferences and publishing in newspapers. He is a member of RedASLA and the Chilean Electroacoustic Community. He was a teacher and coordinator at the Brazilian Conservatory of Music. At present he lectures at the University of Rio de Janeiro (UNIRIO).



Ricardo de Armas: coordinator

Daniel Schachter: Curator and mastering

Jessica Rodriguez: Graphic Design

Jorge Variego y Julio d’Escrivan  english translation

Grazi Elis and Luiz Castelões: portuguese  translation

Bryan Holmes: portuguese  translation review


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