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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.〔(【引用サイトリンク】title=Ricardo Dal Farra )〕 ==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〔(【引用サイトリンク】title=Graciela Castillo (Argentina) )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Graciela Castillo」の詳細全文を読む スポンサード リンク
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