Graciela Castillo (Argentina)
Graciela Castillo (born in Córdoba, 1940) was among the small group of composers that created the Experimental Music Center (Centro de Música Experimental) at the National University of Córdoba during the mid 60s. She is at present Professor of Composition and Music Analysis at the same University.
Among other works she composed: "Diálogos" for two voices, typewriters, radios, and percussion, and "Homenaje a Eliot", open work for voices, concrète sounds and music theatre actions, both in 1965; "Concreción-65", concrète music on tape, between 1965 and 1966; "Colores y masas", concrète music for paintings by José De Monte, in 1966; "Estudio sobre mi voz", "Estudio sobre mi voz II", and "Tres estudios concretos", all three pieces for tape, in 1967; "El Pozo", original version for voices, two wind instruments, typewriters and percussion, 1968 (the score was published in J. Cage's book "Notations"), second version for instruments and tape, around 1969; "Y así era" for tape in 1982, produced at LIPM; "Memorias", a series of three electroacoustic pieces for tape including: "La casa grande", "Memorias" and "memorias II", all in 1991; "Tierra" for tape in 1994; "Iris en los espejos" for tape, and "Iris en los espejos II" for piano, keyboards and processed sounds, both in 1996, realized at ARTHE Group Lab in Córdoba; "De objetos y desvíos" for tape between 1998 and 1999, produced at her personal studio; "Los 40 pianos de San Francisco" for prepared piano and processed sounds in 1999; "Alma mía" for tape in 2000, produced at IMEB in Bourges, France; "Ofrenda" and "Ofrenda II", both for flute and processed sounds, in 2001; "Retorno al fuego", produced at her personal studio, and "La vuelta (Tango)", both for tape, in 2002.
(text updated: October, 2003)
Resources available for this composer:
- List of compositions