Gustavo Delgado. Electroacocustic music composer.

  • Sounds coming from inside of… [2ch, 2004] 8:37 First premiered at the IMEB Bourges Festival in 2004, this work explores the experimental creation of transitions and transformations between a South American folk music loop and electroacoustic sound objects.

    Sounds coming from inside of… [2ch, 2004] 8:37 First premiered at the IMEB Bourges Festival in 2004, this work explores the experimental creation of transitions and transformations between a South American folk music loop and electroacoustic sound objects.

    Sounds coming from inside of… [2ch, 2004] 8:37 First premiered at the IMEB Bourges Festival in 2004, this work explores the experimental creation of transitions and transformations between a South American folk music loop and electroacoustic sound objects.

  • Sin escape aparente [2ch, 2001] 7:38 “In a world shrouded in despair and desolation, voices emerging from the depths of pain strive to escape toward a ray of hope”. Inspired by the composition Gesang Der Jünglinge (1955-56) and the article Four Criteria for Electronic Music (1971) by composer Karlheinz Stockhausen, this work applies, through a…

    Sin escape aparente [2ch, 2001] 7:38 “In a world shrouded in despair and desolation, voices emerging from the depths of pain strive to escape toward a ray of hope”. Inspired by the composition Gesang Der Jünglinge (1955-56) and the article Four Criteria for Electronic Music (1971) by composer Karlheinz Stockhausen, this work applies, through a…

    Sin escape aparente [2ch, 2001] 7:38 “In a world shrouded in despair and desolation, voices emerging from the depths of pain strive to escape toward a ray of hope”. Inspired by the composition Gesang Der Jünglinge (1955-56) and the article Four Criteria for Electronic Music (1971) by composer Karlheinz Stockhausen, this work applies, through a…

  • Microelektra I [2ch, 1999] 5:00 The composition unfolds as a fantasy interwoven with complex rhythms and actions, crafted using samples of percussion and household utensils. These sounds are isolated, fragmented, and reduced to mere milliseconds, sometimes left almost unprocessed, yet meticulously assembled through intricate editing work. The result is a series of interlocking electronic microstructures,…

    Microelektra I [2ch, 1999] 5:00 The composition unfolds as a fantasy interwoven with complex rhythms and actions, crafted using samples of percussion and household utensils. These sounds are isolated, fragmented, and reduced to mere milliseconds, sometimes left almost unprocessed, yet meticulously assembled through intricate editing work. The result is a series of interlocking electronic microstructures,…

    Microelektra I [2ch, 1999] 5:00 The composition unfolds as a fantasy interwoven with complex rhythms and actions, crafted using samples of percussion and household utensils. These sounds are isolated, fragmented, and reduced to mere milliseconds, sometimes left almost unprocessed, yet meticulously assembled through intricate editing work. The result is a series of interlocking electronic microstructures,…

  • MI SECRETO ES LA RISA [2ch, 1998] 1:47 Clip. World premiere at the Annual Festival of Sonoclip and Sound Object 1997 – El Aleph Hall. Recoleta Cultural Center. Buenos Aires. Argentina.

    MI SECRETO ES LA RISA [2ch, 1998] 1:47 Clip. World premiere at the Annual Festival of Sonoclip and Sound Object 1997 – El Aleph Hall. Recoleta Cultural Center. Buenos Aires. Argentina.

    MI SECRETO ES LA RISA [2ch, 1998] 1:47 Clip. World premiere at the Annual Festival of Sonoclip and Sound Object 1997 – El Aleph Hall. Recoleta Cultural Center. Buenos Aires. Argentina.

  • Entrecuerdas [2ch, 1996] 5:57 The electronic materials were generated using an electric guitar. This marked my first attempt at creating a mixed composition.

    Entrecuerdas [2ch, 1996] 5:57 The electronic materials were generated using an electric guitar. This marked my first attempt at creating a mixed composition.

    Entrecuerdas [2ch, 1996] 5:57 The electronic materials were generated using an electric guitar. This marked my first attempt at creating a mixed composition.

  • SINFONÍA PARA UNA MULTITUD [2ch, 1996] 1:00 A tribute clip to Pierre Schaeffer. A collective piece created in collaboration with some of my fellow students (I don’t remember their names—sorry!) during the electronic composition course. The piece was presented at the Bourges Annual Festival 1996, as part of the Tribute to Pierre Schaeffer – IMEB,…

    SINFONÍA PARA UNA MULTITUD [2ch, 1996] 1:00 A tribute clip to Pierre Schaeffer. A collective piece created in collaboration with some of my fellow students (I don’t remember their names—sorry!) during the electronic composition course. The piece was presented at the Bourges Annual Festival 1996, as part of the Tribute to Pierre Schaeffer – IMEB,…

    SINFONÍA PARA UNA MULTITUD [2ch, 1996] 1:00 A tribute clip to Pierre Schaeffer. A collective piece created in collaboration with some of my fellow students (I don’t remember their names—sorry!) during the electronic composition course. The piece was presented at the Bourges Annual Festival 1996, as part of the Tribute to Pierre Schaeffer – IMEB,…

  • FANTASÍA EN EL SUR [2ch, 1995] 3:18 It was my first electroacoustic piece. The female voice is that of my wife (who was my girlfriend in late 1995).

    FANTASÍA EN EL SUR [2ch, 1995] 3:18 It was my first electroacoustic piece. The female voice is that of my wife (who was my girlfriend in late 1995).

    FANTASÍA EN EL SUR [2ch, 1995] 3:18 It was my first electroacoustic piece. The female voice is that of my wife (who was my girlfriend in late 1995).

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