Chapter 24, Electronic Music in Latin America

Episode 163

Chapter 24, Electronic Music in Latin America. Works Recommended from my book, Electronic and Experimental Music 

Welcome to the Archive of Electronic Music. This is Thom Holmes.

This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text.

The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.

There is a complete playlist for this episode on the website for the podcast.

Let’s get started with the listening guide to Chapter 24, Electronic Music in Latin America from my book Electronic and Experimental music.

 

Playlist: ELECTRONIC MUSIC IN LATIN AMERICA

 

Time

Track Time

Start

Introduction –Thom Holmes

01:34

00:00

1.     Reginaldo Carvalho “Sibemol” (1956). Early electroacoustic work from Brazil. Composed in his home studio.

01:33

01:40

2.     Mauricio Kagel “Transicion” (1958). Realized at the WDR studio, Cologne, Germany by this Argentinean composer..

13:12

03:16

3.     Hilda Dianda, “Dos Estudios en Oposición” (1959). An Argentinean composer and early experimenter with electronic music. The tape part for this early work likely composed in her home studio.

06:14

16:26

4.     Mario Davidovsky, “Electronic Study No. 1” (1961). Realized at the Columbia-Princeton Electronic Music Center by this Argentinean composer.

05:44

22:40

5.     Jorge Antunes, “Pequena Peça para mi Bequadro e Harmônicos” (1961). Realized by this Brazilian composer in his private studio.

03:47

28:24

6.     César Bolaños, "Intensidad Y Altura" (1964). Electroacoustic work realized in CLAEM, Instituto T. di Tella, Buenos Aires by this Peruvian composer.

05:13

32:10

7.     Hilda Dianda, “A7” (1964).  Electroacoustic work for cello and tape from Argentina. Her electronic music work was associated with CICMAT, Buenos Aires.

15:04

37:24

8.     Jacqueline Nova, “Oposición – Fusión” (1968). Realized by this Colombian composer in the Studio of fonologia de la Universidad nacionál de Buenos Aires.

10:28

52:28

9.     Alcides Lanza, “Penetrations II” (1969). Realized at the Columbia-Princeton Electronic Music Center by this Argentinean composer.

09:58

01:02:56

10.   Jorge Antunes, “Cinta Cita” (1969). Realized at the Columbia-Princeton Electronic Music Center by this Argentinean composer.

04:46

01:13:05

11.   Jacqueline Nova, “Creación De La Tierra” (1969). Realized by this Colombian composer in the Studio of fonologia de la Universidad nacionál de Buenos Aires.

18:21

01:17:50

12.   Eduardo Kusnir, "La Panadería Versión Electrónica" (1970). Electroacoustic work realized in CLAEM, Instituto T. di Tella, Buenos Aires by this Argentinean composer.

09:20

01:36:04

13.   José Maria Neves, "Un-X-2” (1971). Electroacoustic work realized in the "Centre Americain," Paris by this Brazilian composer.

08:54

01:45:22

14.   Oscar Bazán, "Parca" (1974). Electroacoustic work realized in CICMAT, Buenos Aires by this Argentinean composer.

08:49

01:54:12

15.   Jacqueline Nova, “Montaje Electroacústico A Partir De Materiales” De La Música Original De La Película Camilo El Cura Guerrillero (1974). Realized by this Colombian composer in the Studio of fonologia de la Universidad nacionálde Buenos Aires.

08:14

02:03:00

16.   Juan Blanco, “Tañidos” (1983). Realized by this Cuban composer at the Estudio Electroacústico Del Instituto Cubano De Amistad Con Los Pueblos (ICAP).

12:53

02:11:14

17.   Syntoma, “No Me Puedo Controlar” (1983). Produced by this Mexican synth-pop band at Estudios Rack.

04:06

02:24:06

18.   Juan Blan