Graciela Castillo Explained
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]
Notes and References
- Web site: Ricardo Dal Farra. 20 January 2011.
- Book: Arts in society: Volume 7. University of Wisconsin, University Extension Division. 1970.
- Book: Sadie, Stanley. The new Grove dictionary of music and musicians: Volume 5. John. Tyrrell. 2001.
- Web site: Graciela Castillo (Argentina). 20 January 2011.
