Musique électroacoustique latino-américaine

Francisco Kröpfl (Argentine)

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Francisco Kröpfl (born in Timisoara, Romania, 1931; lives in Argentina since 1932) started to experiment with electroacoustic medias during the 50s. Together with Fausto Maranca he founded the Estudio de Fonología Musical at the University of Buenos Aires during 1958, one of the first electroacoustic music studios in Latin America. He was director of the Electronic Music Lab at CLAEM - Centro Latinoamericano de Altos Estudios Musicales (Instituto Torcuato Di Tella) between 1967 and 1971, later director of the Contemporary Music Department at CICMAT - Centro de Investigación en Comunicación Masiva, Arte y Tecnología (Center for Research in Massive Communication, Art and Technology) between 1972 and 1976, and since 1982 in charge of the Music, Sound and Image Department at Buenos Aires City Cultural Center, including the LIPM - Laboratorio de Investigación y Producción Musical (Musical Research and Production Laboratory), one of the main electroacoustic music labs in the region.

Attracted by the electronic generation of sounds, he composed "Ejercicio de texturas" and "Ejercicio con Impulsos" for electronic sounds, both in 1960, at the Estudio de Fonología Musical in Buenos Aires.

Among other works, Kröpfl composed: "Dimensión 1960 II" for piano, electric guitar and tape in 1960; "Exercise with colored noise" (or "Ejercicios con ruido coloreado" or "Ejercicios con ruido blanco") in 1962; "Música para 3 percusionistas y sonidos electrónicos" for 3 percussionists and electronic sounds in 1963; "Diálogos I" during 1964-1965 and "Diálogos II" in 1965, both works for tape; "Diálogos III" and "Mutación I", both for tape, and "Música para el audiovisual En el Reino Helado de Flash Gordon" for synthesizer, all three works in 1968; "Música para sintetizador" for synthesizer in 1970; "Tónicas y giros" for tape in 1973, realized at CICMAT; in Buenos Aires "Nocturno" and "Scherzo", both for tape, realized in 1977 at the Columbia-Princeton Electronic Music Center in New York; "Incursiones en el AREM" for synthesizer and computer in 1994; "Mutación II" for tape in 1985, realized using sounds produced by a Synclavier II digital synthesizer; "Orillas", based on a poem by Rodolfo Alonso, and "Cuenca. Presagio de pájaros", both for tape, in 1988; "Metrópolis - Buenos Aires", soundscape from the city realized at LIPM in Buenos Aires, and "Cronique" for tape, both in 1990; "Música interactiva" for synthesizer and computer, and "Música para percusión II" for percussion and electronic sounds, both in 1992; "Relato", version for tape only in 1992, and version for live synthesizer and tape in 1993; "El pájaro (in memorian)" for tape in 1995; "Vientos" for tape in 1996; "Al Sur" for tape in 1997; "El regreso" and "El vuelo", both for tape, in 2000.

(last update by RDF: March, 2004)

Ressources disponibles pour ce compositeur :
- Liste des compositions (13 compositions)

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