Graciela Castillo (born 1940) is an Argentine electroacoustic composer. She was born in Córdoba, Argentina. 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.[1][2][3]

Works

Selected works include:

  • Concreción 65, concrete music on tape, 1965
  • Y así era, for tape, 1982
  • Diálogos for two voices, typewriters, radios, and percussion
  • Homenaje a Eliot, open work for voices, concrète sounds and music theatre actions, both in 1965
  • Colores y masas, concrète music for paintings by José De Monte, in 1966
  • Estudio sobre mi voz for tape, 1967
  • Estudio sobre mi voz II for tape, 1967
  • Tres estudios concretos, for tape, 1967
  • El Pozo, original version for voices, two wind instruments, typewriters and percussion, 1968 (the score was published in John Cage's book Notations), second version for instruments and tape, around 1969
  • Memorias, a series of three electroacoustic pieces for tape ("La casa grande", "Memorias" and "memorias II"), 1991
  • Tierra for tape in 1994
  • Iris en los espejos for tape, 1996
  • Iris en los espejos II for piano, keyboards and processed sounds, 1996
  • De objetos y desvíos for tape, 1998–99
  • Los 40 pianos de San Francisco for prepared piano and processed sounds in 1999
  • Alma mía for tape in 2000
  • Ofrenda for flute and processed sounds, 2001
  • Ofrenda II for flute and processed sounds, 2001
  • Retorno al fuego, for tape, 2002
  • La vuelta (Tango), for tape, 2002[4]

References

  1. ↑ "Ricardo Dal Farra". Retrieved 20 January 2011.
  2. ↑ Arts in society: Volume 7. University of Wisconsin, University Extension Division. 1970.
  3. ↑ Sadie, Stanley; Tyrrell, John (2001). The new Grove dictionary of music and musicians: Volume 5.
  4. ↑ "Graciela Castillo (Argentina)". Retrieved 20 January 2011.
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