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

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