Edgar Barroso – Website I Works I News I Projects I

This website is a sort of a music diary where I share music, videos, ideas, current and future projects, dreams and everything that comes to mind. I’m thankful and glad that you are here. You can hear about news and concerts in the BLOG section of this website. This website is focused on my music […]

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Transdisciplinary Collaboration and Open Source Creation

As mentioned before the study and practice of Transdisciplinary Collaboration is of tremendous importance in my life. During my time at Harvard I founded various collaboration groups with graduate students coming from many different fields of knowledge. We called it the “Open Source Creation Group” which was a cluster of Harvard Graduate and Undergraduate students […]

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Edgar Barroso – Composition Interests

I understand my own writing as a process of exploration, retreat and self mediation. I cannot conceive life without my desk, my paper, my sounds, my technology, my silences and my thought. In my work I search to create emotional pauses, moments of metacognition and memorable focused experiences. My scores are a combination of precise […]

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Edgar Barroso – Social Innovation Programs in Mexico

Social commitment is also an essencial part of my life. Using the skills I have learned from years of studying collaboration have helped to create a nationwide community of responsible citizens involved in the betterment of social issues in modern Mexico. We have several projects such as “60 Minutos por México”. An initiative that has […]

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Edgar Barroso, will present Sketches of Briefness, at the XLIII Festival Internacional Cervantino

The next October 17th, the Academia Cervantina Ensemble will present Sketches of Briefness, by Edgar Barroso, at the XLIII Festival Internacional Cervantino.

Edgar Barroso’s conference at the CMMAS.

The next October 23rd, Edgar Barroso will dictate a conference at the CMMAS (Mexican Center for Music and Sound Arts) titled: “Covolución, the age of makers, movers and doers”.

The world premiere of Haptic, by Edgar Barroso.

Edgar Barroso presented Haptic, at Visiones Sonoras, the mexican festival of contemporary music.

Interview with Edgar Barroso, on his triple disc review on Ravello Records.

We checked in with trans-disciplinary composer Edgar Barroso earlier this month leading up to his triple-disc debut on Ravello Records, and we’re pleased to share below his thoughts on the composing process, his influences, The National System of Art Creators of Mexico, open-source creation, and the trajectory of 21st-century music: http://parmarecordings.blogspot.mx/2015/09/composer-interview-with-edgar-barroso.html

Edgar Barroso directed the transdisciplinary workshop, Music for Cellists and Astronauts, at the 2015 Classical Next meeting, in Rotterdam.

Classical next Edgar

Edgar Barroso comienza su residencia en Vigo, España, auspiciada por Ibermúsicas.


En este mes de Mayo, Edgar Barroso se trasladó a Vigo, España, donde comenzó la composición de “Metztli”, obra contemporánea de cámara realizada con el auspicio de Ibermúsicas, para el Vertixe Sonora Ensemble. Asimismo, impartió un curso de Música Transdisciplinar, en el Conservatorio Superior de Música de Vigo, durante el Foro Internacional de Composición cAuSaL15.

Edgar Barroso appointed to the 2015 – 2018 “National System of Art Creators” (Sistema Nacional de Creadores de Arte) of Mexico


Con la finalidad de estimular, fomentar y apoyar la creación artística individual y su ejercicio en condiciones adecuadas, así como contribuir a incrementar el patrimonio cultural de México, la Secretaría de Educación Pública (SEP) y el Consejo Nacional para la Cultura y las Artes (Conaculta), a través del Fondo Nacional para la Cultura y las Artes (Fonca).

Awarded with the “Ibermúsicas 2015” Artistic Residence with the ensemble Vertixe Sonora Ensemble. Vigo – Spain

Edgar Barroso - Ibermúsica

El Programa de Fomento de las Músicas Iberoamericanas IBERMÚSICAS es un plan multilateral de cooperación que pretende fomentar la presencia y el conocimiento de la diversidad cultural iberoamericana en el ámbito de las artes musicales, estimulando la formación de nuevos públicos en la región y ampliando el mercado de trabajo de los profesionales del sector.
El pasado 8, 9 y 10 de Octubre, en la ciudad de Valparaíso, Chile, se llevó a cabo la VII Reunión del Consejo Intergubernamental del Programa Ibermúsicas donde se firmó el acta con los proyectos seleccionados para recibir las ayudas de las convocatorias 2014 – 2015 correspondientes a las lineas:
– Ayudas a la movilidad de solistas, ensambles y grupos iberoamericanos de la región.
– Ayudas a la movilidad para festivales, encuentros, ferias, mercados, salas y foros.
– Ayudas a residencias de compositores.
– Ayudas a residencias artísticas para entidades públicas o privadas.
– Ayudas a residencias artísticas en el centro mexicano C.M.M.A.S
– Proyectos especiales

De este modo ya se encuentran publicadas en el portal las ayudas concedidas 2014 – 2015.
Asi mismo, los resultados de la convocatoria del 1º Concurso Iberoamericano de composición de Canción Popular se publicarán el 28 de Noviembre.

Edgar Barroso has signed on to release his debut album with PARMA Recordings


New PARMA Artist: Edgar Barroso.
We are pleased to announce that composer Edgar Barroso has signed on to release his debut album with PARMA Recordings! He joins a growing roster of artists committed to exciting and adventurous new music.This album will feature a mix of programmatic and process-oriented chamber ensemble and electro-acoustic works from the past 10 years of Barroso’s career.

The instrumentation on Barroso’s debut album will run the gamut from solo accordion to string quartet to six vocalists to various other ensembles and combinations of acoustic and electronic instrumentation. Check out the links and video below for more information and examples of his work, and be sure to keep an eye out for updates on this upcoming release.

Born in Mexico in 1977 and currently doing research at the Institute for Computer Music and Sound Technology in Switzerland, Barroso recently received his Ph.D. in Music Composition from Harvard University, where he was appointed Director of the Harvard Group for New Music from 2010 through 2014. Barroso is part of the inaugural class of Harvard Horizons Scholars. His works have been interpreted in important forums in North America, Ibero-America, Asia and Europe. During 2006-2012 he received several National and International Prizes in Music Composition and Multimedia, including the Francis Boott Prize in Music Composition, Best Audio Award from the International Black&White Multimedia Festival, Grand Prize from the Harvarrd University Live Electronics International Composition Competition, and the “Young Creator Award” from the National Fund for Culture and Arts, Mexico.

“Innateness is Modular” by Edgar Barroso premiered by Elision Ensemble at Harvard University

Edgar Barroso - Elision Ensemble

…is Australia’s premier new music ensemble whose virtuosic and authoritative performances have established the reputation of Australian new music at key international venues and festivals.

The ensemble has performed at Maerzmusik, the Hebbel Theater Berlin, the Berlin Philharmonie and Konzerthaus, Wien Modern, Huddersfield Contemporary Music Festival, the Westdeutscher Runkfunk, Radio Bremen, Festival Ars Musica of Brussels, the Züricher TheaterSpektakel, Saitama Arts Theatre of Japan, IRCAM, the 50th Warsaw Autumn Festival, the Chekov International Theatre Festival of Moscow, the Opéra National de Paris Bastille for the Festival d’automne of Paris, the TRANSIT Festival of Leuven, the Ultima Festival of Oslo, Spitalfields Festival, the City of London Festival, and Kings Place in London. These engagements complement major appearances at the Brisbane, Perth, Melbourne, Sydney and Adelaide Festivals and the release of several recordings with KAIROS, NEOS, NMC and MODE — all reviewed to acclaim by the international press.

Recently the group has worked with composers Bryn Harrison, Sam Hayden, Einar Einarsson, Matthew Sergeant, Luke Paulding and Ann Cleare, and maintained a close research relationship with SIAL studios at RMIT, Melbourne. Richard Barrett’s CONSTRUCTION, a large project commissioned by the European Capital of Culture programme, was premiered by ELISION at the Huddersfield Contemporary music Festival in 2011 and broadcast live by BBC Radio3. ELISION has also developed a strong relationship with newly emergent strands of American composition made evident in the close association with composers Aaron Cassidy, Evan Johnson and Timothy McCormack and forthcoming residencies at Harvard and Stanford Universities as part of a USA tour in 2014.

ELISION has recorded over twenty-two compact discs, undertaken close to forty international tours to over fourteen different countries and initiated international commissions and projects supported by cultural organisations in the United Kingdom Germany, Canada, Holland, France and Japan.

“Binary Opposition” Selected at the INTERNATIONAL CALL – SYMPOSIUM Understanding Visual Music – UVM 2013 in Buenos Aires, Argentina


“Binary Opposition” for Video and Electronics by Edgar Barroso from Edgar Barroso on Vimeo.

The Electronic Arts Experimentation and Research Centre – CEIArtE (Centro de Experimentación e Investigación en Artes Electrónicas) of the National University of Tres de Febrero (Universidad Nacional de Tres de Febrero) is inviting to submit papers and artworks about videomusic to be considered for the Understanding Visual Music – UVM 2013 symposium.

The event will be coproduced with the General San Martín Cultural Centre, the Galileo Galilei Buenos Aires Planetarium and will also count with the collaboration of the National University of Lanus. The symposium will be held on August 8th and 9th of 2013, in the city of Buenos Aires, Argentina.

Edgar Barroso selected as part of the Inaugural Class of Harvard Horizons Scholars



Eight students named as finalists by Harvard Horizons, the new GSAS initiative to celebrate the insights and innovations of Harvard’s PhD community

The Graduate School of Arts and Sciences is pleased to announce the 2013 Horizon Scholars, eight PhD students whose ideas, innovations, and insights have the potential to reshape their disciplines. These students have been selected by the Harvard Horizons initiative as representatives of the high aspirations and the extraordinary achievements of Harvard University’s PhD programs. They form the inaugural class of the Society of Horizon Scholars, a new fellowship cohort that will offer opportunities for long-lasting community, mentorship, and professional and academic growth. Over the next month, these scholars will receive in-depth mentoring on the art of effective presentation, preparing them for a campus-wide symposium on May 6, at 4:30 p.m. in Sanders Theatre.

The Inaugural Horizon Scholars
and their project titles:

Edgar Barroso, Music
“Enhancing Music, Social, and Entrepreneurial Innovation through Trans-Disciplinary Collaboration”

Stephanie Dick, History of Science
“Aftermath: Following Mathematics into the Digital”

Alex Fattal, Anthropology
“Guerrilla Marketing: Information War and the Demobilization of FARC Rebels”

Hansun Hsiung, East Asian Languages and Civilizations
“Textbook Enlightenment: Europe, Japan, and the Global Book Trade, 1720–1877”

Fenna Krienen, Psychology
“What We Can Learn From the Human Connectome”

Aaron Kuan, Applied Physics
“Graphene Nanopores for Single-Molecule DNA Sequencing”

Liz Maynes-Aminzade, English
“Macro-Realism: How Fiction Can Help Us Understand an Interconnected World”

Jeff Teigler, Division of Medical Sciences
“Building Better Vaccines by Learning the Language of the Immune System”

The Horizon Scholars will present their ideas in compelling, short-format talks at the Harvard Horizons Symposium on May 6, at 4:30 p.m., at Sanders Theatre. Provost Alan Garber, FAS Dean Mike Smith, and GSAS Dean Xiao-Li Meng will join in the celebration, and faculty, staff, and students from across the University are invited to attend as well, and to stay for a reception after the symposium. Free tickets will be available at the Harvard Box Office and at the door at Sanders Theatre. (More information to follow.)

The inaugural class of Horizon Scholars was selected by Harvard Horizons, an initiative of Dean Meng and Shigehisa Kuriyama, Reischauer Institute Professor of Cultural History at Harvard.

Fifty-five PhD students applied to Harvard Horizons in February, submitting synopses of their most essential research ideas and short video of themselves presenting their work. A cross-disciplinary faculty committee reviewed the applications, selected 15 semi-finalists, and conducted a round of interviews, after which the committee met to choose the eight Horizon Scholars.

“Binnary Opposition” by Edgar Barroso for Video and Electronics selected at the Festival Mixtur / Barcelona, Spain April 25 – 27, 2013.


Mixtur is a collective formed in Barcelona with the aim of contributing to the creation, pedagogy and diffusion of today’s music and sound art, engaged with research, both related to the sound itself and it’s interaction with other disciplines.1

“Metric Expansion of Space” for Accordion by Edgar Barroso at Concert Hall Studio Foce in Lugano, Switzerland performed by Gabriele Marangoni – January 12- 2013


The metric expansion of space is the increase of distance between distant objects in a space that is constantly expanding, like the universe. Even though the universe is expanding, is not expanding into anything outside of itself. I imagine this expansion as very violent and extreme. The piece expands certain material into itself, a sort of a force that is trying to reach the unreachable, but has no place to go but to return to his own mass. With an obsessive obstinate rhythmic structure and with spasms of energy that revolves in its own velocity, range and capacity, the accordion becomes a machine which receives a non-stop stream of energy from the player. These bursts of energy can be measured between several nearby points in space with a very precise compositional strategy. The piece uses amplification as a continuation of the idea of being continuing expanding. I can’t think of a better performer than Corrado Rojac, he is energetic, precise and yet sensitive to convey the beauty raised from an obsessive behavior. We are very lucky to have him with us.

“NADIR” by Edgar Barroso and Ernesto Rodriguez-Leal performed by Séverine Ballon at Harvard University / April 6 – 2013

severine ballon


A collaboration between cellist Séverine Ballon, engineer Ernesto Rodríguez-Leal and composer Edgar Barroso. “Nadir” is a solo cello piece which uses ORIGAMI as an sound modulator and generator.

Séverine Ballon studied cello at the Hochschulen für Musik in Berlin and Lübeck with Joseph Schwab and Troels Svane. In 2004-2005 she was a participant in the International Ensemble Modern Academy. She has also undertaken further studies in contemporary cello technique with Siegfried Palm, Lukas Fels and Rohan de Saram. In 2006-2007, she was a solo cellist in the Toulouse Chamber Orchestra, before deciding to specialise in contemporary music performance. Séverine is a member of the ensembles ELISION (Australia), Ensemble Sillages and multilatérale (Paris) and works regularly with such ensembles as Klangforum Wien, musikFabrik (Cologne), Ictus, Ensemble Inytercontemporain… In 2008-2009 she was at Akademie Schloss Solitude (Stuttgart) for a six-month residency. She attaches particular importance to working directly with composers (Helmut Lachenmann, Liza Lim, James Dillon, Jonathan Harvey…) and has premiered several solo works (Liza Lim, Erik Ulman, Stefano Bulfon, Alex Sigman…). She has recently collaborated with composer David Coll on his multimedia work 68 at IRCAM, and on an installation project with photographer Evi Keller. She regularly performs in a duo with electronic artist Sébastien Roux. Séverine Ballon has been a prize-winner of the 2004 international contemporary music performance competition Gioia del Colle (Italy) and of the Marie-Luise Imbusch Foundation.

Awarded with a Frederick Sheldon Traveling Fellowship – Harvard University / 2012 – 2013


Fellowships, were established to support a full academic year (September-June) of research or study abroad for Harvard graduate students and graduates of Harvard’s graduate and professional schools.

Candidates for these fellowships should have an outstanding academic record, a feasible and well-defined project, and good standing within their school.

“PUSH” by Edgar Barroso in progress for the ICST Immersive Space


An immersive/interactive non-linear piece by Edgar Barroso created for technology developed at the p://www.icst.net/” target=”_blank”>ICST by Jan Schachter which tries to portrait the dichotomy that exists in his native Mexico. Beauty – Violence, Hope – Poverty, Biodiversity – Polution.

“ACU” 8.0 Multichannel Electroacoustic piece by Edgar Barroso performed at the Visiones Sonoras Festival. October 2012 – Morelia, México

74596828 / Acupuncture


Particularly important in acupuncture is the free flow of Qi, it is commonly translated as “vital energy”. Acupuncture treatment regulates the flow of Qi, tonifying where there is deficiency, draining where there is excess, and promoting free flow where there is stagnation. An axiom of the medical literature of acupuncture is “no pain, no blockage; no blockage, no pain.” Acu is based on the idea of representing an ill sound organism full with blockages that eventually will heal by “pressing” specific points (speakers).

ACU 8.0 Electroacoustic piece by edgarbarroso

“Visiones Sonoras” es realizado por el Centro Mexicano para la Música y las Artes Sonoras (www.cmmas.org) con el apoyo de la Secretaría de Cultura del Estado de Michoacán, el Consejo Nacional para la Cultura y las Artes, el Centro Nacional de las Artes, el Conservatorio de las Rosas, el British Council y la Unidad de Vinculación de la Universidad Nacional Autónoma de México, Campus Morelia.

“Kuanasi Uato” by Edgar Barroso performed by the Argento Chamber Ensemble – Conducted by Michel Galante / Boston, MA – October 2012

Listen to the recording (fragment).

Kuanasi Uato I by Edgar Barroso performed by Argento Ensemble at Harvard University – 2012 by edgarbarroso-4

The Argento Chamber Ensemble is the performance arm of the Argento New Music Project. Consisting of nine dedicated members, the ensemble regularly expands to perform and record chamber orchestra works of up to 30 musicians, and has established a reputation for delivering unforgettable performances.

Argento spearheaded Lunar Movements in 2010, and again in 2012, series of weekend concerts exploring modes of musical écriture that stem from Schoenberg’s 1912 Pierrot Lunaire. The Ensemble has toured widely in the US and abroad in festivals including the Norfolk Chamber Music Festival, the International Festival of Spectral Music in Istanbul, Turkey, the American Festival of Microtonal Music in New York, Sounds French Festival in New York, The Kilkenny Arts Festival, Ireland, and the International Festival of Electro-acoustic music, Shanghai. Tours to Asia and the Middle East included collaborations with non-Western musicians such as singer Kani Karaça.

The group has worked closely with leading composers such as Pierre Boulez, Tania Leon, Tristan Murail, Elliott Carter, Philippe Hurel, Gerard Pesson, Joshua Fineberg, and Philippe Leroux, and has collaborated with younger emerging composers internationally and at leading universities such as Columbia, Princeton, and Stonybrook.

The Ensemble’s first recording, featuring the music of Tristan Murail, was released in January of 2007 on the AEON label. The recording immediately received critical acclaim worldwide, and won the 2010 Record Geijutsu Record Academy Award for the new music category. Recording of Philippe Hurel’s Quatre Variations was released in 2009 on the Harmonia Mundi label, and recording of works by Alexandre Lunsqui is slated for release in the near future. The ensemble has also recorded surround sound installation works, and has produced a complete video and audio recording of Arnold Schoenberg’s Pierrot Lunaire for online education.

Argento’s reputation has been the result of its long history as a chamber ensemble since 2000, demanding technical preparation, and a probing interpretive commitment to the music. Independent of commercial endeavors, the Ensemble relies on the hard work of its musicians, board members, and your generous support.

“An Inward flow” performed by duo SONODUALIS at the XIX Festival Punto de Encuentro. Valencia/Spain – November 16 – 2012



ESTRENO ABSOLUTO: CARLOS SATUÉ-“Cinco poemas de Castro” mezzosoprano, saxophon and live electronic

Mezzosoprano, saxophon and live electronic

“Kuanasi Uato” by Edgar Barroso premiered at the International Cervantino Festival by the Ensamble Nuevo de México – Conductor: Miguel Salmón del Real / October 18 -2012

Screen shot 2012-09-13 at 9.41.38 AM

Listen to the recording:

Commissioned by the International Cervantino Festival based on the city of Guanajuato – Mexico. “Kuanasi Uato” comes from two words that formed the current name of this city: Kuanasï and Uato from the Purepecha language. The name means “hill of frogs”. It was given this name because for the ancient Purepechas, it seemed that they were shaped like frogs. Because of the geographical characteristics of the city, where you can only access the city going through tunnels, the contrast in environmental changes is dramatic. Therefore contrast is very important in the piece. Kuanasi Uato is made up of different materials that collide against one another, separated, incapable of mixing. Throughout the piece, sound starts modeling the interaction among these materials until they get trapped in a flow of events which overlap constantly. This overlapping of energies create a vocabulary of gestures that compose the entire energy profile of the piece. This energy, and this piece is a sort of melancholic homage to Guanajuato, where I did my undergraduate studies and where I have dear friends and family.
Comisionada por el Festival Internacional Cervantino 2012 en la ciudad de Guanajuato. “Kuanasi Uato” viene de dos palabras que forman el nombre actual de esta ciudad: Kuanasï y Uato de la lengua purépecha. El nombre significa “cerro de ranas”. Se le dio este nombre porque para los purépechas, las montañas parecían que tenían forma de ranas. Debido a las características geográficas de la ciudad, donde sólo se puede acceder pasando por túneles, el contraste de los cambios ambientales es dramático. Por lo tanto, el contraste en el material sonoro es muy importante en la pieza. Kuanasi Uato se compone de diferentes materiales que colisionan unos contra otros, separados, incapaces de mezclarse o integrarse. A lo largo de la pieza, el sonido mismo empieza a modelar la interacción entre estos materiales hasta que se quedan atrapados en un flujo de eventos musicales que se superponen constantemente. Esta superposición de las energías, comienza a crear un vocabulario de gestos que componen el perfil energético de la pieza. Esta energía, y la pieza es una especie de homenaje melancólico a Guanajuato, donde hice mis estudios de grado y donde tengo amigos y familia muy queridos.

“ACU” by Edgar Barroso at FYLKINGEN, Stockholm / Sweden – September 18th -2012.

Fylkingen is a society, consisting primarily of practicing artists, devoted to the production and promotion of new music and intermedia art. Since its foundation in 1933, initially as a chamber music society, Fylkingen has been committed to experimental, new and unestablished forms of contemporary arts. Learn more…

Tuesday 2012, September 18th – 20:30
Octophonic Concert

Münchenbryggeriet, Torkel Knutsonsgatan 2, Stockholm
Martes 18.9.2012 a las 20:30 horas


Caminando…. (recordando Nicolás Guillén) sección I (2002) Andrés Lewin-Richter
ACU (2008) Edgar Barroso
Formants B (2003) Albert Llanas
On Nothing (2003) José Manuel Berenguer
Sonatisse (2004) Pablo Fredes
Strings (1989) Andrés Lewin-Richter


Generalitat de Catalunya: Consell Nacional de la Cultura i de les Arts
Ajuntament de Barcelona: Barcelona Cultura
SGAE Fundación Autor
Universitat Pompeu Fabra


“Metric Expansion of Space” by Edgar Barroso will be performed by accordionist Gabriele Marangoni at the Palace Moriggia – Museum of the Risorgimento in Milan. June 21, 2012


Si diploma in fisarmonica con il massimo dei voti presso il Conservatorio G.Verdi di Milano con il M. Sergio Scappini, col quale continua a specializzarsi. Parallelamente studia composizione sperimentale con il M° Dario Maggi, sempre presso il Conservatorio di Musica di Milano. Ottiene presso l’Università degli Studi di Torino la Laurea in Scienze e Tecnologie dell’Arte con il Prof. Ernesto Napolitano. See more…

“ENGRAMA” by Edgar Barroso winner of the Blodgett String Quartet Composition Prize. “Engrama” will be performed by the Chiara String Quartet at Sanders Theater on February 19, 2013

Screen shot 2012-05-16 at 12.33.30 PM

Chiara String Quartet

“ENGRAMA” will be performed at the Sanders Theater at Harvard University in February 2013.


Renowned for bringing fresh excitement to traditional string quartet repertoire as well as for creating insightful interpretations of new music, the Chiara String Quartet (Rebecca Fischer and Julie Hye-Yung Yoon, violins; Jonah Sirota, viola; Gregory Beaver, cello) captivates its audiences throughout the country. During 2011-2012, the Chiara is celebrating twelve seasons of playing together.The Chiara has established itself as among America’s most respected ensembles, lauded for its “highly virtuosic, edge-of-the-seat playing” (The Boston Globe). Read more…

Collaboration with designer Yen-Ting Cho and Edgar Barroso “To Be Different” will be screened the Royal College of Art in London (Lecture Theater 1)

“To Be Different” Animation: Yen-Ting Cho, Sound: Edgar Barroso from Edgar Barroso on Vimeo.

Percussionist Samuel Z. Solomon premieres “Ataraxia” by Edgar Barroso for percussion and live electronics at the John Knowles Concert Paine Hall – Harvard University / April 26, 2012

Ataraxia (Ἀταραξία “tranquility”) is a Greek term used by Pyrrho and Epicurus for a lucid state, characterized by freedom from worry or any other preoccupation. In this piece, the aim is to convey a state of tranquility with a very smooth flow of energy coming from the percussionist. In the score, the performer is asked to think in terms of the practice of Tai-Chi, where acceleration is very controlled and energy is somewhat contempt. The electronics on the other hand, are representing the energy, that invisible vitality coming from very soft and controlled movements, this energy is invisible to our eyes but is all around us. The piece is a state of robust tranquility that derives from surrounding oneself with trustworthy and affectionate sound world “worthy of trust”, avoiding directionality and conflict. I am very luck to have Samuel Z. Salomon to premiere this piece, he really understood the piece right from the beginning and his incredible sensitivity and musicianship are truly remarkable.

“UTTERANCE” for Baritone and One Speaker by Edgar Barroso. Premiered by Bass-Baritone Frank Wörner. April 14, 8pm – 2012 – Harvard University, John Knowles Paine Concert Hall


For non-native speakers, utterance is a word that comes with a lot of confusing pronunciations, meanings and usages. This piece is an homage to a friend of mine who spent a long evening conversation explaining to me (and others) what is the meaning of the word Utterance and when it is a appropriate to use it. Is it pronunciation? Is it mention? Is it expression? Is it a style of communication? Is it all of them? Since Frank Wörner comes from Germany and I will soon move to Switzerland I decided to use German and English to convey distance from the absolute understanding of the word Utterance.

The piece is an absurd dialogue between the singer and a second character who is “inside” a single speaker and that will be interrupting and explaining the meaning of Utterance to Frank. The learning experience makes use of singing, speaking, laughing, shouting and what the performer feels at the moment of listening to what the speaker has to say. It has a controlled level of improvisation, making the piece be halfway into a small music theater monologue-dialogue between him and his many selves. An absurdist fiction that was not that far away from that original conversation among friends on the topic of Utterance.

Listen to the recording:

Works by:

Justin Hoke
Sivan Cohen-Elias
Edgar Barroso
Chaya Czernowin
Andreas Dohmen

ARTS @ David Rockefeller Center for Latin American Studies: Spring Music Concert / March 28 – 2012

Date: Wednesday, March 28, 2012
Time: 6:00 pm
Location: CGIS South, Tsai Auditorium, 1730 Cambridge Street, Cambridge
Contact: Marcela Ramos, mvramos@fas.harvard.edu

ARTS@DRCLAS is pleased to announce the second version of its SPRING MUSIC CONCERT SERIES. Each year Latino and Latino American musicians from Harvard and the Boston area are invited to play at The David Rockefeller for Latin American Studies.

Program 1: Composer Andres Ballesteros
Nora and Reshma’s Magical Tandem Bike Ride
Sin Tregua

Program 2: Composer Edgar Barroso
ACU – Electroacoustic piece
Kapsis – For Video and Electronics
Binary Opposition – for video and electronics

Program 3: Trio Clave: Carmen Liliana Marulanda (Traverse flute), Fabián Gallón (Tiple) Arístides Rivas (Violoncello)
Gloria Beatríz – Bambuco de León Cardona
Bochicaneando – Bambuco de Luis Uribe Bueno
El Sanjuanero Huilense by composer Anselmo Durán.
Marielena – Danza de José A. Morales
Carito – Bambuco de Luis Carlos Saboya
El Patasdilo – Pasillo de Carlos Vieco Ortíz

All arrangements by Carmen Liliana Marulanda, except Carito, by Lucas Saboya.

The event is free and open to the public.

Reception to follow.

“Over-Proximity” by Edgar Barroso premiered at Harvard University by MusikFabrik Ensemble and conducted by Yordan Kamdzhalov / May 12 – 2012

Conducted by Yordan Kamdzharov

For Flute, Clarinet, Horn, Trombone, One Snare Drum, Two Maracas and Piano.

We are now so close to each other. Social networks have been sharing our lives, ideas, pictures, videos to the world since some years ago. These hyper-connectivity has created the possibility to maintain relationships that otherwise would not be possible, such as long distance relationships and online collaboration. Nonetheless, despite all these advantages, this over-proximity to our lives, has brought a new form of stress to society. What we published in these networks could make somebody else uncomfortable, upset, even miserable, and could be someone that you don’t even know. Your “happiness” expressed in your pictures, could be a trigger of someone else’s depression at the other side of the world. People are now comparing to one another constantly. This piece is an exploration of musical materials that are too close to each other, either rhythmically, energetically, or referring to pitch content. This piece is a personal reflection on the consequences that we produce when we published something on the web. The music material was created thinking in the Over-Proximity idea of having people looking at others people’s lives. A given in today’s world.

Inspired by Slavoj Zizek idea of over-proximity and social networks in the new social revolution yet to come.

“Why are we so traumatized by the neighbor’s over proximity? Habit and custom are the predominant ways in which we maintain a distance towards the “inhuman” neighbor’s intrusive proximity, and we are today effectively witnessing a decline of habits: in our culture of self-exposure and “sincerity”, they no longer provide a screen ensuring our distance from the neighbor.”
Slavoj Zizek “Living in the End Times”

“An Inward Flow” by Edgar Barroso at Manchester University, UK. Performed by Xelo Giner: Sax and Sara Almazán: Mezzosoprano


A previous version performed by:
Jennifer Ashe – Soprano
Philipp Stäudlin – Saxophone

An-Inward-Flow-Live at the Sackler Museum – Harvard University by edgarbarroso_2

“An inward flow” is a piece inspired by “Untitled” by Robert Gober. The piece immediately caught my imagination as an object that is actively hiding a deep secret. It seems to me that the object somehow swallowed the little girl(s), they are sisters. Nonetheless, the intention of the sink is not to hurt the little girl(s), but to confine them into a space to resolve some issues between them, only then can they come out of it. In this piece, the “trapped” character(s) are played by a mezzosoprano. The sink on the other hand is represented by the saxophone and the resonant environment in which this objects are interacting is mainly assigned to the live electronics part. A fragmented/dislocated dialog between these sisters begin, the girl(s) “trapped” in the sink are forced to find a way out by resolving some issues between “them”. Presumably egoistic problems. In the process, they finding a huge conflict in communication and pretty much start a very hostile and hurtful dialogue. Could they stop being so full of themselves and free themselves from the sink?

“To be Different” screened at the “The Edge of Our Thinking: Research in Art and Design Conference” Royal College of Art / London – UK

A new collaboration between designer Yen-Ting Cho and composer Edgar Barroso

The Edge of Our Thinking is an inaugural student-led research conference investigating a range of current perspective in art and design. Professional researchers and research students from across the UK will hold presentations and workshops in a variety of practical and theory-based subject areas, offering the unique opportunity for critical interdisciplinary exchange.

“Logos” by Edgar Barroso at the “ARS NOVA Tage für Neue Musik” in Rottenburg-Germany performed by Ensemble Aventure and in cooperation with the SWR2 / January 28th – 2012

Neue Musik aus Lateinamerika
Germán Romero (* 1966, Mexiko) Cruces (2009) für Violine, Klarinette, Klavier und Kontrabass

Mariano Etkin (* 1943, Argentinien) Tercer estudio para lágrimas (2010) für Horn und Kontrabass

Mesias Maiguashca (* 1938, Ecuador) La Noche Cíclica II (2007) für Violine, Violoncello, Klavier, Marimba und Elektronik

Natalia Solomonoff (* 1968, Argentinien) Tarjo für Kammerensemble

Edgar Barroso (* 1977, Mexiko) Logos (2008) für Klarinette, Fagott, Klavier und Live-Elektronik

Rodolfo Acosta (* 1970, Kolumbien) ein world pour todos (2009) für Nonett Künstler:

Alexander Grebtschenko, Live-Elektronik / Klangregie

“Logos” de Edgar Barroso parte del CD “Lustro” recopilación de piezas representativas comisionadas por el Centro Nacional para la Música y las Artes Sonoras [ CMMAS ] en sus primeros 5 años de existencia

Screen Shot 2012-12-15 at 11.18.28 AM

Theodore Lotis
Rodrigo Sigal
Carlos López Charles
Francisco Colasanto
Edgar Barroso
Simon Vincent
Mario Lavista

En sus primeros cinco años de existencia, el CMMAS ha podido establecer un programa de fomento a la creación de música nueva con tecnología único en su tipo en América Latina. El personal del Centro ha creado obras como parte de los proyectos personales de composición y experimentación y se han encargado composiciones a artistas nacionales y extranjeros. Todas las obras se han estrenado y tocado en diversos foros. Es el disco “Lustro 01” el espacio idóneo para celebrar el trabajo del CMMAS en este período y mostrar algunas de las piezas resultado de este trabajo.

El CMMAS pretende explorar nuevas maneras de fomentar la creación así como difundirla, sin embargo este proceso no puede completarse sin la experiencia del escucha, que a través de este CD podrá conocer algunas de las aproximaciones que artistas de México, Grecia, Inglaterra y Argentina han podido concretar.

“Logos” by Edgar Barroso for Bassoon, Clarinet, Piano and Live Electronics performed by Ensemble Aventure / Freiburg, Germany. Friday, January 27th – 2012

ein world pour todos
Elisabeth Schneider Stiftung, Wilhelmstr. 17a

Einführung um 19.30 Uhr: Mesias Maiguashca
Germán Romero
(* 1966)
Cruces (2009)
für Violine, Klarinette, Klavier und Kontrabass
Mariano Etkin
(* 1943)
Tercer estudio para lágrimas (2010)
für Horn und Kontrabass
Mesias Maiguashca
(* 1938)
La Noche Cíclica II (2007)
für Violine, Violoncello, Klavier, Marimba und Elektronik
Natalia Solomonoff
(* 1968)
Tarjo (2011)
für Ensemble
Edgar Barroso
(* 1977)
Logos (2008)
für Klarinette, Fagott, Klavier und Live-Elektronik
Rodolfo Acosta
(* 1970)
ein world pour todos (2009)
für Nonett

“Ensemble Nikel” premieres “Noemata” for Saxophone, Electric Guitar, Piano and Percussion by Edgar Barroso – February 18, 2012 / Harvard University

Presenting musicians from Basel, Brussels, Lausanne & Tel Aviv, Ensemble Nikel is a group of five musicians displaying a new contemporary chamber music sound in which the obstacle of melting electric and acoustic instruments into a unified musical organism is being constantly tackled.

Nikel ensemble is continuously aiming for the quest of exploring its audio spectral artistic possibilities focusing on instruments mainly evolving in the 20th century, Presenting an ongoing subscribers series in Tel Aviv & Haifa, Initiating new conceptual projects with various partners, soloists and ensembles and also in cooperation with composer Yuval Shaked, lead a lecture series introducing various angels and topics related with Contemporary Music aesthetics. Its concert series in Israel has presented great amount of world premiere performances to works by world known established composers such as Chaya Czernowin, Clemens Gadenstätter, Philippe Hurel, Helmut Oehring or by such young prominent composers as Raphaël Cendo, Sivan Cohen Elias, Eduardo Moguillansky, Marco Momi ,Stefan Prins and Michael Wertmüller.

Founded in 2006 by Yaron Deutsch and Gan Lev, the ensemble has already been invited to play in prestigious contemporary music festivals such as: Wien Modern, Donauecshinger Musiktage, Ultraschall (Berlin), Bang on a Can (New York), International Summer Course for New Music Darmstadt, Klangspuren (Schwaz) and Warsaw Autumn to name a few.

Ensemble Nikel members are: Vincent Daoud – Saxophones // Yaron Deutsch – Electric Guitar, Artistic Director // Tom De Cock – Percussion // Reto Staub – Piano // Eran Borovich – Double Bass

“Binary Opposition” selected at the “Sincresis” XVIII Festival Internacional de Música Electroacústica Punto de Encuentro. Valencia, España Noviembre 17, 2011.

“Binary Opposition” for Video and Electronics by Edgar Barroso from Edgar Barroso on Vimeo.

Estimados amigos, ya está publicado en esta web el programa general del I ciclo de videomusica y visual music, sección que ha sido nueva en este año 2011 dentro de la programación general del XVIII Festival Internacional de Música Electroacústica “Punto de Encuentro” de la AMEE en la sede de Valencia.

Programa del día:

Rodrigo Sigal / música Ricardo Giraldo / imágenes Mexico 2003 (dur. 4:30)
Richard Johnson / música / imágenes EE. UU. 2010 (dur. 5:50)
Marcela Pavia / música / imágenes Leopoldo Saracino / guitarra Studio “Girasole”; Andrea Tagliabue / fotografía “Dedicato ed ispirato a Fideal”: LeoNilde Carabba Italia (dur. 6:40)
Julie Mansion-Vaquié / música Krunoslav Ptitchar / imágenes Francia 2011 (dur. 7:10)
Edgar Barroso / música / imágenes Mexico – EE.UU. 2010 (dur. 9:30)
Vytautas V. Jurgutis / música / imágenes / producción Lituania 2005 (dur. 16:43)
Jaime Esteve / música / imágenes España (dur. 4:19)
Alejandra Hernández / música / imágenes Mexico 2008 (dur. 10:10)
Ivan Elezovic / música / imágenes EE.UU. 2005 (dur. 07:20)
Panayotis A. Kokoras / música Dimitris Vourdoglou / imágenes Grecia 2008 (dur. 8:31)

Duality is one of the strongest concepts in life on this planet. The male-female dichotomy, Presence – Absence, Rational – Emotional, etc. are all concepts that help us have a starting point to make sense out of the rather infinite possibilities that emerge from a deceiving simple dual . Binary opposition is a piece that explores the interaction of stable and unstable materials that interact producing a set of possibilities that goes beyond the limited nature of their own. They are all affected by each other, and are also “invaded” by a disruptive characteristic of the frame space that speeds up the materials, similar to wind that provokes acceleration. Metaphorically: The actual weather of the frame.

“An Inward Flow” by Edgar Barroso [inspired by the work “Untitled” by Robert Gober] for Saxophone, Mezzosoprano and Live Electronics premiered at the Harvard Art Museum


An-Inward-Flow-Live at the Sackler Museum – Harvard University by edgarbarroso_2


Performed by:
Jennifer Ashe – Soprano
Philipp Stäudlin – Saxophone
Edgar Barroso – Live Electronics – Composition

“An inward flow” is a piece inspired by “Untitled” by Robert Gober. The piece immediately caught my imagination as an object that is actively hiding a deep secret. It seems to me that the object somehow swallowed the little girl(s), they are sisters. Nonetheless, the intention of the sink is not to hurt the little girl(s), but to confine them into a space to resolve some issues between them, only then can they come out of it. In this piece, the “trapped” character(s) are played by a mezzosoprano. The sink on the other hand is represented by the saxophone and the resonant environment in which this objects are interacting is mainly assigned to the live electronics part. A fragmented/dislocated dialog between these sisters begin, the girl(s) “trapped” in the sink are forced to find a way out by resolving some issues between “them”. Presumably egoistic problems. In the process, they find a huge conflict in communication and pretty much start a very hostile and hurtful dialogue. Could they stop being so full of themselves and free themselves from the sink?

“An Inward Flow” es una pieza inspirada en la obra plástica “Sin título”, de Robert Gober. La pieza inmediatamente llamó mi atención como un objeto que esconde activamente un secreto muy profundo. Parece que la obra de Gober de alguna manera se tragó a una o dos niñas, que en mi interpretación son hermanas. Sin embargo, la intención del objeto no es hacer daño a las niñas, sino confinarlas en un espacio para resolver algunos problemas entre ellas, una vez resueltas sus diferencias entonces podrán salir del gigante lavabo. En esta pieza, el espacio y el lavabo es interpretado por el saxofón. El ambiente resonante en el que estos objetos están interactuando está destinada principalmente a la parte de electrónica en vivo.

Un diálogo fragmentado / dislocado entre estas hermanas “atrapados” en el lavabo se ven obligadas a encontrar una salida mediante la resolución de sus problemas entre “ellas”. Es de suponer que los problemas son egoístas. La obra evoluciona como la búsqueda de una mejor comunicación y el inicio de un diálogo muy hostil e hiriente que se convierte en una reconciliación. La pregunta es:¿Podrán dejar de ser tan llenas de sí mismas y liberarse del lavabo? La madre aparece esporádicamente en la obra como una especie de “mediadora”.

“Sound and Vision” / Article from the Graduate School of Arts and Science – Harvard University


At the Tokyo International Film Festival

PDF of the article – “Sound and Vision” by Joanna Grossman

“Metric Expansion of Space” by Edgar Barroso on Italian Limenmusic Web Tv performed by Corrado Rojac – 30 September, 2011

First Italian earning an accordion Diploma at a State Conservatorio, Corrado Rojac is considered one of the most important italian accordionists. In addiction to an intense soloist and chamber activity, this eclectic artist is engaged to the development of contemporary accordion’s literature, working with many composers and offering first performances of many pieces.
In this concert, he performs three unpublished pieces of young composers:

Gabriele Vanoni – Corde di recita
Trevor Baĉa – L’imaginaire
Edgar Barroso – Metric expansion of space

Limemusic is an offspring of Associazione Culturale Limen, founded in 1991, the brainchild of twenty years of musical research. What at the beginning was an experimental exploration, today it is a solid reality, aligned with the most advanced communication standards. Limenmusic main focus is the production of cultural contents, with classical music at the forefront and jazz music in second place. Music is the focal point from which departs the interest for every other art form – literature, poetry, painting/visual arts, architecture, sculpture, and performing arts. Our audio/video projects are aimed at different platforms (web tv, traditional television, digital terrestrial, satellite, mobile, new media), and the whole production system is completely ready for High Definition video. Thanks to a revolutionary model designed in-house, Limenmusic today realizes more than 100 productions (concerts, interviews, talks, documentaries and so on) per year. In 2007 Limenmusic launched an highly evolved Web tv (www.limenmusic.com), with a full schedule, accessible live or on demand, with two thematic channels: classical and jazz.

“The Compass is carried by the Dead Man” by Arturo Pons – Music by Edgar Barroso selected for competition for the Tokyo Sakura Grand Prix Award Winning Film screening at the Tokyo International Film Festival

The Largest Film Festival in Asia

The one and only FIAPF-accredited international film festival in Japan

This year marks the 24th edition of Tokyo International Film Festival (TIFF). As the only Japanese film festival accredited by the International Federation of Film Producers Associations (FIAPF)*1, TIFF has played an integral role in Japan’s film industry and cultural scene since its establishment in 1985. TIFF aspires to be recognized as one of the four major film festivals in the world – in the same league as Cannes, Venice and Berlin, which now stand at the summit of the more than 2,600 international film celebrations.

A collection of excellent works from around the world for exclusive screenings, nominated for the “Tokyo Sakura Grand Prix”

Over the nine days of the Festival, films from a variety of genres will be shown in several intriguing programs: Competition, which selects the “Tokyo Sakura Grand Prix” from a carefully chosen ensemble of premiere films presented by both talented first-timers and recognized directors; Special Screenings, which premieres highly entertaining films prior to their public release in Japan; Winds of Asia – Middle East, which boasts the largest number of films and audiences in all the TIFF screenings; Japanese Eyes, which showcases a broad range of Japanese films for worldwide audiences; and natural TIFF highlighting films carrying underlying messages that place emphasis on “the coexistence of humans and nature.”

La Orquesta de Cámara de Bellas Artes dirigida por el Maestro Jose Luis Castillo estrena “Plasmático” para orquesta de cuerdas 22, 23, 24, 25, 26 y 27 de Septiembre. Colima, Jalisco, Michoacán y Guanajuato – México

Se denomina plasma o plasmático a un gas que se compone de partí­culas cargadas de iones libres y cuya dinámica presenta efectos colectivos dominados por interacciones electromagnéticas de largo alcance entre las mismas. Se conoce como un estado de agregación de la materia con caracterí­sticas propias, diferenciándolo de este modo del estado gaseoso, en el que no existen efectos colectivos importantes. Es también llamado el cuarto estado de la materia. Los átomos en este estado se mueven libremente. Cuanto más alta es la temperatura más rápido se mueven los átomos en el gas y en el momento de colisionar la velocidad es tan alta que se produce un desprendimiento de electrones. En “Plasmático” se busca representar esta dinámica de efectos colectivos. La partitura está escrita de manera que cada instrumento de cuerda es visto como una partí­cula que se mueve libremente como los átomos y que dependiendo de su evolución algunos átomos se mueven más rápido que otros generando nubes de energí­a que se condensan. Hacia el final el estado plasmático se debilita y el efecto colectivo domina el espectro sonoro. Es una narración de la evolución de un material sonoro volátil en uno concreto y contrapuntísitico

“ACU” by Edgar Barroso at the Soundscapes Special ed. – Sonorous-Horreum – Linz, Austria

Sonorous Horreum

Soundscapes, a traditional program of electronic music concerts at KAPU in Linz, extends it sound world and proposes an exhibition of sound works surrounded by concerts. International sound artists meet local compositions and the audience in a multichannel listening room – the “Sonorous-Horreum”. Sounds and noises that make us doubt in the darkness at the same time we compose the landscape only by listening.

We hope this Soundscapes will become a meeting point for all sound enthusiastics.

Clemens Pichler y Enrique Tomás [curators]

“Binary Opposition” at the “EIMAS” Encuentro Internacional de Música y Arte Sonoro, Brazil

The 2nd Annual International Meeting of Music and Sound Arts (EIMAS 2011) will join researchers, musicologists, performers, composers and sound artists from Brazil and abroad at a Brazilian State university (Universidade Federal de Juiz de Fora) from September 13 to 16, 2011, in order to create a new space for exchange around the practice and theory of today’s music and sound art.

All of the events during Eimas 2011 – lectures, roundtables, concerts and workshops -, which display and debate the use of new, and not so new, techniques and technologies in music (extended instrumental techniques, electroacoustic, mixed, CAC) and sound arts (installations, web concerts, interactive systems), will be open to the public and free of charge.

All of the selected papers will also be available at no cost through our online periodical (“Revista Eimas 2011”), to be issued by December 2011.

“ODD” by Edgar Barroso at the “Acousmain” Concert in Frankfurt, Germany July 21 – 2011

Screen shot 2011-07-21 at 9.55.14 AM

Ligeti: Pièce Électronique Nr. 3 (1958/96)
Wiggen: Mass (1970)
Chowning: Turenas (1972)
Brün: auf und ab und zu (1978)
Risset: Songes (1979)
Wishart: vox 5 (1986)
Nachtmann: Tafelmusik (1999)
Tutschku: Object – obstacle (2004)
Barroso: ODD (2006)
Kim: Welcome to Hasla (2007)

ODD by Edgar Barroso/ For 5.1 Electroacoustic Piece by edgarbarroso_2

Konzerte mit “leblosen” Lautsprechern stellen eine große
Herausforderung an die Wahrnehmung dar.
Obwohl sich kein Lautsprecher bewegt, befinden wir uns in einer
bewegten Klanglandschaft voller Geheimnisse,
Rätsel, Paradigmen, Metamorphosen, Symbolen. Alle präsentierten
Komponisten leb(t)en in der akademischen Welt
– aber sie lassen uns teilhaben an einem merkwürdigen Spiel: wie sich die Kunst von der Wissenschaft befreit.
(Folkmar Hein)

Baritone Guillermo Anzorena premieres “Ma ye ya nican” by Edgar Barroso for Piano and Voice – Mendoza, Argentina / August 1 – 2011


Guillermo Anzorena was born in Mendoza, Argentina. He studied Voice at the Conservatory of Music at the National University of Cuyo. In 1991, he was a prize winner in the vocal competition “Young Voices” in Buenos Aires. In 1993, he was named “Young Talent of the Year” by the Richard Wagner Society. Various scholarships allowed him to work intensively with German Lied in Argentina.

Since 1994, Guillermo Anzorena has lived in Karlsruhe, where he completed his postgraduate studies at the Musikhochschule Conservatory of Music as well as in the Opera School. His engagements as an opera singer have led him to the Konstanz Opera Summer and the Young Opera Stuttgart. CD and radio recordings, with the SWR and the Young Opera Stuttgart among others, accompany his solo career. He has recorded several song cycles by Carlos Guastavino and performs works by contemporary Argentinian composers in international concerts as a member of the Ostinato Foundation.

Guillermo Anzorena has been a member of the Neue Vocalsolisten Stuttgart since 2000. Numerous concert tours with the ensemble have taken him all over the world. He sang the main role in a NVS world premiere production of the opera Si by Roberto Andreoni in Bergamo, Italy. Since October 2000 he has been an instructor of Voice at the Hochschule für Kirchenmusik in Tübingen.

“Aini” at the Conservatorio “Luisa D’Annunzio” Pescara – Italy

Grafimuse - locandina - Edgar Barroso

Edgar Barroso

“Binary Opposition” at the “Tzlil Meudcan” International Festival & Summer Course for New Music Performance & Composition – ISRAEL 2011

Dear audience,

I am happy to present you with the 5th edition of the Tzlil Meudcan Festival and Summer Course due to take place in Israel from June 29th to July 9th 2011.

With this edition we are much honored to host musicians from Ensemble Ictus, Ensemble musikFabrik, Ensemble Recherche, Clarinet Duo Stump-Linshalm, Ensemble Nadar & Ensemble Nikel together with composers Michael Beil, Pierluigi Billone, Chaya Czernowin & Steven Takasugi among others.

By default, as Tzlil Meudcan bears within its structure a summer course platform, the program has the tendency of slipping into eclectic outbursts of various, even contradicting, aesthetics. This is actually an encouraged result on our behalf and together with it, as “stabilizers”, are placed artistic anchors, giving a structural foundation to the program, showcasing what we believe to be interesting, relevant and exciting for our audience to experience.

Mostly, these stabilizing reference points are reflected in each year’s choice of Composer in Focus. This edition it will be the Italian composer Pierluigi Billone who will attend the festival as our guest, having a number of works present in the program, giving a presentation of his music, participating in an open talk moderated by composer Yuval Shaked, who will also give a lecture titled, “Ritualistic Tactility” addressing the works of Mr. Billone.

Closing it all down is the emphasis put on performances of works from the passing decade by both established and young prominent composers, with the highlight of 8 new works written by the 8 chosen composers who were invited to take part at the summer course program led by composers, Chaya Czernowin & Steven Takasugi.

All works were incorporated in the festival program and will be performed by musicians of the above mentioned ensembles. These musicians throughout the summer course period were also teaching performance students who are also taking part at the festival, presenting various daring and challenging repertoire by some of the canonic figures of our current time.

We happily invite you to view below the festival’s program and more important to take time and join us in Tel Aviv for our days of festivity.

Sincerely yours,

Yaron Deutsch

Tzlil Meudcan – International Festival & Summer Course for Contemporary Music

“AINI” by Edgar Barroso – One of the Winners of the Grafimuse competition – Italy/Bulgaria/Poland

Grafimuse RESULTS

The winners are:

Juan Manual Abras (Argentina)
Ann-Helena Schlueter (Germany)
Edgar Baroso (Mexico)
Martin Daske (Germany)
Davide Remigio (Italy)
Marco de Biasi (Italy)
Christian Doepke (Germany)
Manfred Gehann (Germany)
Giacometta Marrone d’Alberti (Italy)
Maciej Jarczynski (Poland)
Barbara Marcinkowska (Poland-France)
Anna Mikhailova (Russia)
Volker Niehusmann (Germany)
Paola Fasolo (Italy)
Sylvia Hellstern (Germany)
Michaela von Pilsach (Germany)
Yaniv Segal (USA)
Zach Sheets (USA)

On June 22, 2011, the winning works will be printed (on A3 sized paper), and will be exhibited in the following places:

Chieti, Fermo, Kraków, Pescara, Sambuceto, Santos, Sofia, and Warsaw.

During this exhibition, concerts/artistic happenings (instrumental, dance, vocal, and movement) will take place using the winning entries. 
The works will be treated as sources of artistic inspiration for improvisation, as well as graphic scores. International mass media sources will be notified of concert information.

Recipient of “The Bohemians” (New York Musicians Club) Prize to Edgar Barroso for “Lunfarda” for Cello, Piano and 4 Percussions – Harvard University

Lunfarda on Video.

Corrado Rojac performed “Metric Expansion of Space” by Edgar Barroso at the Instituto Italiano di Cultura in Slovenia – May 16/2011

Recipient of the Merit/Graduate Society Term-time Research Fellowship – Harvard University


The Harvard Merit Fellowships and Graduate Society Term Time Awards for Dissertation Research are now similar in terms of eligibility requirements and stipend; they are available to outstanding GSAS students in all fields, including GSAS departments in the natural sciences. These fellowships are normally to be held in the fourth or fifth year, or earlier, and are for the purpose of allowing the students to devote a greater portion of their time to research, fieldwork,
and writing than would otherwise be possible. Students must have passed Generals and have an approved dissertation prospectus at the time of nomination, or be scheduled to have approval by the time the award begins (the award otherwise will be forfeited if approval does not materialize).

“Binary Opposition” for video and electronics selected for the Listening Room at the International Computer Music Conference (ICMC 2011) at the University of Huddersfield, England.


“Binary Opposition” for Video and Electronics by Edgar Barroso from Edgar Barroso on Vimeo.

Since 1974 the International Computer Music Conference has been the major international forum for the presentation of the full range of outcomes from technical and musical research, both musical and theoretical, related to the use of computers in music. This annual conference regularly travels the globe, with recent conferences in the Americas, Europe and Asia. This year we welcome the conference to England for the first time.

The 2011 International Computer Music Conference will be hosted by CeReNeM, the Centre for Research in New Music, at the University of Huddersfield, England. As always the conference welcomes the submission of a wide range of papers and music, covering all aspects of technical, creative and aesthetic issues around the use of computers in music.

The theme of the 2011 conference is innovation : interaction : imagination emphasizing the importance for our field of innovative technical developments, imaginative responses to new situations and, above all, the creative interaction of the technical and the musical. Submissions emphasising this theme are particularly welcomed and, following from last year, ICMC 2011 will again include a piece plus paper category in which it will be possible for such links to be made explicit. The conference will also be programmed to juxtapose paper sessions on particular topics with concerts in which related ideas inform musical works.

The International Contemporary Ensemble (ICE) plays “Sketches of Briefness” by Edgar Barroso on May 14 – 2011 at Paine Hall – Harvard University

The International Contemporary Ensemble (ICE) is dedicated to reshaping the way music is created and experienced. With a flexible roster of 33 leading instrumentalists performing in forces ranging from solos to large ensembles, ICE functions as performer, presenter, and educator, advancing the music of our time by developing innovative new works and pursuing groundbreaking strategies for audience engagement. In an era of radical change, ICE redefines concert music as it brings together new work and new listeners.

Since its founding in 2001, ICE has premiered over 500 compositions, the bulk of them by emerging composers, in venues ranging from New York’s Lincoln Center and Chicago’s Museum of Contemporary Art to galleries, bars, clubs, and schools around the world. The ensemble has released acclaimed albums on the Bridge, Naxos, Tzadik and New Focus labels, with forthcoming releases on Nonesuch, Kairos and Mode.

With leading support from The Andrew W. Mellon Foundation, ICE launched ICElab in early 2011. This new program places teams of ICE musicians in close collaboration with six emerging composers each year to develop works that push the boundaries of musical exploration. ICElab projects will be featured in more than twenty performances each season and documented online through DigitICE, a new online venue.

ICE’s commitment to build a diverse, engaged audience for the music of our time has inspired The Listening Room, a new educational initiative targeting public schools whose music programs have been cut in the recent recession. Using team-based composition and graphic notation, ICE musicians lead students in the creation of new musical works, nurturing collaborative creative skills and building an appreciation for musical experimentation.

Beethoven and Electronics /On April 15, 2011 at Harvard University, Pianist Seda Röder improvised with Live-Electronics (Edgar Barroso) inserted into the middle of Beethoven’s 5th Piano Concerto notated cadenza.

Seda Röder website

“In this episode I would like to invite you to my upcoming concert with Beethoven’s 5th piano concerto. The concert is taking place on Friday, April 15th at Harvard’s Paine Hall. I will also talk a little bit about what makes this concert so special.

Those of you who can make it to the concert on Friday will hear something very extraordinary. I will be improvising a contemporary cadenza to the first movement of Beethoven’s 5th concerto using a live-electronics framework by composer Edgar Barroso.

In the concert on Friday I will insert an electro-acoustic improvisation into the middle of Beethoven’s notated cadenza demonstrating how different elements from within the concerto are perfectly suitable for such an experiment.”

“Morphometrics” Selected at the “Imagen & Resonancia” Festival by the “Fundación Destellos” – Mar de Plata / Argentina

Program for the Sound Art Festival

La Fundación Destellos se complace en anunciar su primer ciclo de Arte Sonoro “Imagen & Resonancia”. Con esta iniciativa la Fundación se propone abrir un nuevo espacio destinado a hacer conocer las obras de artistas sonoros y visuales de las diversas vertientes contemporáneas.

La Fundación Destellos se complace en anunciar su primer ciclo de Arte Sonoro “Imagen & Resonancia”. Con esta iniciativa la Fundación se propone abrir un nuevo espacio destinado a hacer conocer las obras de artistas sonoros y visuales de las diversas vertientes contemporáneas.

Corrado Rojac Premieres “Metric Expansion of Space” by Edgar Barroso for Amplified Accordion at Harvard University. April 23, 2011.


Corrado Rojac Official Website

Moving Mexico Forward – Wednesday, February 23 – 6pm / David Rockefeller Center for Latin American Studies – Harvard University / Interdisciplinary Collaborations: A workshop with Edgar Barroso

Edgar Barroso Interdisciplinary group at Harvard

The first meeting of the Interdisciplinary Collaboration Group at Harvard. Harvard and MIT graduate students in Literature, Music, Medicine, MBA, Kennedy School of Government, Education, Engineering and Public Health. Conforming interdisciplinary groups committed to society.


Moving Mexico Forward – Harvard University Mexican Association

Students from different universities in the Boston/Cambridge are focusing on developing responses to the challenges that Mexico is facing. We consider that the next couple of years are crucial for the success (or failure) of our country.

México, Adelante will be a series of events during 2011 including talks, workshops and round tables sometimes with guest speakers from our country, some others with students from the different schools. The main idea of these events is to discuss our challenges, but most important to discuss our role and proposals to address them.

• LUNES 21
Iniciamos con la oportunidad de conocer, a través de un diálogo, la perspectiva de una mujer que ha tenido un rol trascendente en la política mexicana durante los últimos 10 años, JOSEFINA VÁZQUEZ MOTA, Coordinadora del GPPAN en la Cámara de Diputados, ex Secretaria de Educación Pública y de Desarrollo Social.
[10:30 am, salón 110, Edificio Griswold, Harvard Law School]

Charla sobre mecanismos de colaboración interdisciplinaria con EDGAR BARROSO, estudiante mexicano del PhD en Composición Musical.
[6:00 pm, salón S153, CGIS South (Centro Rockefeller), 1730 Cambridge St.]

Diálogo con JOSÉ ÁNGEL ÁVILA, Secretario de Gobierno del Distrito Federal. Ven y conoce los proyectos más importantes de nuestra capital y ofrecer tu perspectiva sobre cómo enfrentar los retos que enfrenta la ciudad.
[12:00pm, salón Taubman 275, Harvard Kennedy School]

The Diotima String Quartet – University Performance on January 27, Harvard University Free and Open to the Public

“Engrama” for String Quartet by Edgar Barroso / The Diotima Quartet from Edgar Barroso on Vimeo.

Screen shot 2010-11-19 at 1.01.18 AM

Engram (for string quartet) is the first part of a modular trilogy (with a total of 45 minutes) that explores three concepts that are related to the sense of hearing, being such, memory, translation and balance in relation to the increased violence in Mexico in the last four years. Each of these parts, in addition to form this trilogy- may be submitted as separate pieces where each part will consist of different instrumentation. Engram, is a hypothetical means by which memory traces are stored. Traumatic events such as kidnapping and robbery with violence marked the lives of those affected. That first engram, or change that happens in our brain when we realized that we are subject of a violent act, and how memory at that very first moment leads to sequels and traumatic memories is the motivations to write this piece. For the construction of engram, I heard and read several interviews of people who have been kidnapped and selected words or phrases that were common in all of them. Expressions like: “… it all happened very fast” or “I felt like I was drowning of impotence” were key to generate the material of the work in which acceleration processes and the use of the performers actual breathing is used as an extension of the instrument. These elements are fundamental to understand the first part of this trilogy. This piece is in its turn, the first of a series of works related to the phenomenon of violence in Mexico.


ENGRAMA by edgarbarroso_2

QUATUOR DIOTIMA, founded by graduates of the Paris and Lyon Conservatoires, was awarded first prize at the FNAPEC Competition, Paris in 1999, and the Contemporary Music Prize at the London String Quartet Competition in 2000, in which year, at the invitation of ProQuartet, they began a two-year residency at the Centre Européen de Musique de Chambre, Fontainebleau.

From the outset Diotima have been performing internationally; they have appeared at many of the major concert venues and music festivals across Europe including L’Auditorium du Louvre, Berlin Philharmonie, Konzerthaus Berlin, Festival ECLAT Stuttgart, Ars Musica Brussels, Huddersfield Festival, Archipel Geneva, Klangspuren Schwaz, MITO Settembre Musica, Villa Medici Rome, Casa da Musica Porto, CDMC Madrid and the Athens Festival. Concert tours have taken them further afield, to Japan, USA, Mexico, Central and South America, China and Korea.

Diotima’s first CD of works by Lachenmann and Nono received the Young Talents prize at the award ceremony ‘Diapason d’or de l’année’. Their recent CD of Janacek (Diapason d’or, November 08) comprises the two quartets played from new critical editions and the première recording of the composer’s viola d’amore version of Intimate Letters. Their discography also includes quartets by Lucien Durosoir (‘Choc’ from Le Monde de la Musique) and Schoenberg’s virtuosic concerto (after Handel) for quartet and orchestra, to which they will soon add works by Alberto Posadas and Chaya Czernowin, and a ‘Second Viennese School’ portrait.

“Binary Opposition” for Video and Electronics Premiered on December 11, Harvard University

Binary Opposition for Video and Electronics by Edgar Barroso from Edgar Barroso on Vimeo.

Duality is one of the strongest concepts in life on this planet. The male-female dichotomy, Presence – Absence, Rational – Emotional, etc. are all concepts that help us have a starting point to make sense out of the rather infinite possibilities that emerge from a deceiving simple dual . Binary opposition is a piece that explores the interaction of stable and unstable materials that interact producing a set of possibilities that goes beyond the limited nature of their own. They are all affected by each other, and are also “invaded” by a disruptive characteristic of the frame space that speeds up the materials, similar to wind that provokes acceleration. Metaphorically: The actual weather of the frame.


“…Another noteworthy effort came from Harvard PhD candidate Edgar Barroso’s Binary Opposition (2010) for video and electronics. The piece began with the mysterious, vaguely ominous whispering of multiple speakers. In the video, a stark white stripe appeared across the screen and was intermittently invaded by specks and blotches of black. As this introduction ended, the sounds and images became more abstract. Sustained sections of foreboding repose were contrasted with short moments of intense agitation. Amid lacerating shards of noise, lifelike sounds were perceived in the distance, including the chirps of birds and the original whispering. At its climax, Binary Opposition reversed the pattern, sustaining the agitation and intermittently contrasting it with less saturated moments. A dark, contemplative stalking, just beneath the surface, underpinned this increased activity.

In conversation after the concert, Barroso revealed that the pathos in his recent works has been a reaction to the intense escalation of violence in his native Mexico. In a lesser composer’s hands, this profound angst might be rendered as avalanches of discordance, but Binary Opposition succeeds through its balance of contemplation and visceral anxiety. As Barroso explained in the program notes, dualities are “concepts that help us have a starting point to make sense out of the infinite possibilities that emerge from a deceiving simple dual.” Binary Opposition succeeds as a complex portrait of unease…”

David Dominique

“ECHOIC” published by “European American Music” as part of the The SCI Journal of Music Scores.

The SCI Journal of Music Scores is an anthology of music by members of the Society and is published by European American Music. It is sold mostly to music libraries throughout the United States by subscription. There have been 37 volumes of the SCI Journal of Music Scores. The editor of this edition is composer: Bruce Taub

ECHOIC – For Violin, Gamelan and Live Electronics (Max/MSP) by Edgar Barroso from Edgar Barroso on Vimeo.


The Society of Composers, Inc. is a professional society dedicated to the promotion of composition, performance, understanding and dissemination of new and contemporary music. Members include composers and performers both in and outside of academia interested in addressing concerns for national and regional support of compositional activities. The organizational body of the Society is comprised of a National Council, co-chairs who represent regional activities, and the Executive Committee.

Garth Knox plays “Catalyst” at “DISCANTUS NEW MUSIC FESTIVAL” Teatro de la Ciudad – Puebla / México / October 28


Granted by the Mexican National Fund for Art and Culture with a 2010-2011 “Programa Jóvenes Creadores” Award


This program supports young artists to create pieces of art during a year period. It also brings funding, tutorship with renowned artists and organizes meetings among artists to promote interdisciplinary projects.

“Kapsis” Selected at the Zero Film Festival in New York / Miami / Los Angeles /

Zero Film Festival is the first and only festival EXCLUSIVE to self financed filmmakers and the authentically independent films they create.
ZFF is a New York and Los Angeles based independent not-for-profit organization firmly committed to supporting under-represented filmmakers and screening the world’s best self-financed films for cinema lovers everywhere. ZFF focuses on community, inclusivity and good times on planet Earth.

Kapsis Website – A collaboration between composer Edgar Barroso and designer Yen-Ting Cho.

“Kapsis” Screened at the International “Callejón del Ruido Festival” – Guanajuato / México / August 25 – 8pm


A collaboration between composer Edgar Barroso and designer Yen-Ting Cho, Kapsis is a 7 minute piece for flute, electro-acoustic music, and video art, which will be part of their Nahua operetta Zazanilli (which in Nahuatl means both “story” and “enigma”.) It will portray the mesmerizing Nahua myth of a young girl who becomes a starfish. The goal is to represent the unrepresented, to provide though structured musical figuration an understanding of invisible forces and principles that regulated not only the myths, riddles and proverbs of ancient Aztecs but also the pulse of contemporary indigenous politics. This piece is part of a Inter-media operetta.

Curado por Manuel Rocha

“Kapsis” Best Original Score, Best Visual Effects and Awarded with Excellence at Los Angeles Movie Awards

EX Score

EX Excellence

EX Effects


The Los Angeles Movie Awards mission is to celebrate Independent Motion Picture and Literary Arts by providing a platform for filmmakers and writers to have an opportunity to be awarded for their work.

Beta Collide premieres “NO*ISS*PA” at the Oregon Bach Festival – June 24


No-Iss-Pa by Edgar Barroso, performed by Beta Collide / Oregon Bach Festival by edgarbarroso_2

BETA COLLIDE is a leading edge new music ensemble based in Oregon. Directed by Molly Barth (formerly of eighth blackbird) and Brian McWhorter (of Meridian Arts Ensemble), BETA COLLIDE focuses on the collision of musical art forms – from new complexity to ambient; from low-brow to high-brow; from radically extended technique to site-specific improvisation; from popular to the academy. Described as “sensational” by NPR’s music critic Tom Manoff, the ensemble frequently performs with guests that stretch the concert experience [Roger Hayes painting live on large-format canvasses – Stephen Vitiello creating graphic scores for musical realization – Amit Goswami speaking about his new research in quantum physics and its relationship with consciousness – Jeffrey Stolet performing his own electronic music with Wii controllers and flashlights]. The 2008-09 season features a stunning array of virtuosic soloists and chamber musicians such as bass-baritone Nicholas Isherwood, pianist David Riley, violinist Lisa McWhorter, and percussionist/sommelier Phillip Patti.

Edgar Barroso awarded with a Harvard University Certificate of Distinction in Teaching


The Derek Bok Center for Teaching and Learning awards the Harvard University Certificate of Distinction in Teaching to teaching fellows, teaching assistants, and course assistants, and the Harvard University Certificate of Teaching Excellence to lecturers and preceptors.

Edgar Barroso appointed as Director of the Harvard Group for New Music HGNM


HGNM is comprised of Harvard University Music Department graduate students, including composers from the composition, theory, musicology and ethnomusicology programs. The primary purpose of HGNM is to perform works by its membership, to foster a sense of community among the resident composers and to develop musical and professional relationships beyond the group.

Neue Vocalisten Stuttgart premieres “Metamorphoseon” for 6 Soloists by Edgar Barroso on Saturday, May 15 – 2010 – Awarded with the Francis Boott Prize at Harvard University




Sarah Sun, high soprano
Susanne Leitz-Lorey, lyric soprano
Truike van der Poel, mezzo soprano
Daniel Gloger, countertenor
Martin Nagy, tenor
Guillermo Anzorena, baritone
Andreas Fischer, bass

Neue Vocalsolisten Stuttgart, they are researchers, discoverers, adventurers and idealists.

Their partners are specialist ensembles and radio orchestras, opera houses and the free theater scene, electronic studios and countless organizers of contemporary music festivals and concert series in the world.

The Neue Vocalsolisten established as an ensemble specializing in the interpretation of contemporary vocal music in 1984. Founded under the artistic management of Musik der Jahrhunderte, the vocal chamber ensemble has been artistically independent since the year 2000.

Each of the seven concert and opera soloists, with a collective range reaching from coloratura soprano over countertenor to “basso profondo”, shapes the work on chamber music and the co-operation with the composers and other interpreters through his/ her distinguished artistic creativity. According to the musical requirements a pool of specialist singers complements the basic team.

The ensemble’s chief interest lies on research: exploring new sounds, new vocal techniques and new forms of articulation, whereby great emphasis is placed on establishing a dialogue with composers. Each year, the ensemble premiers about twenty new works. Central to the group’s artistic concept are the areas of music theater and the interdisciplinary work with electronics, video, visual arts and literature, as well as the juxtaposition of contrasting elements found in ancient and contemporary music.

Morphometrics – Selected at Black & White Audiovisual Festival in Porto – Portugal


Black & White is a festival that celebrates an essential aesthetic form in audiovisual Arts. More than a competition it promotes conferences, presentations and discussion between a community of young creative artists and professionals from all over the world. Now on its sixth edition the B&W Festival will once again bring the spirit of independent production to the City of Porto.

Kapsis – Best International Experimental Film at Sundial Film Festival 2010 – Redding / California


Collaboration between designer Yen-Ting Cho and Composer Edgar Barroso wins the Best International Experimental Film Prize.

The Sundial Film Festival is a Northern California celebration of the digital artistic expression of filmmakers and photographers. One of its guiding objectives is to educate and foster film and photography production among youth that they may discover an interest or career in using this craft.

ACU – Selected at “Sound, Sight, Space and Play 2010” Postgraduate Conference for the Creative Sonic Arts / Music, Technology and Innovation Research Centre, De Montfort University, Leicester, United Kingdom


The ideals of this event are to stimulate co-operation and inspiration between postgraduate students, across institutional boundaries, leading to new perspectives on current works and research. This year’s event has the theme “Exploring the Future of the Sonic Arts” and aims to investigate this critical topic through all forms of submissions and a roundtable discussion.

The Talujon Percussion Quartet premieres “PYLON” at Harvard University – April 24


TALUJON is formed by: David Cossin, Tom Kolor, Matt Ward, Dominic Donato, Michael Lipsey

Described by the New York Times as an ensemble possessing an “edgy, unflagging energy”, the Talujon Percussion Quartet has been mesmerizing audiences since 1991. Talujon is thoroughly committed to the expansion of the contemporary percussion repertoire as well as the education and diversification of its worldwide audience.

Based in New York City, Talujon performs regularly for such highly regarded organizations as the Lincoln Center Chamber Music Society, Bang on a Can, Carnegie Hall, Symphony Space, Harvard University the Percussive Art Society. Talujon has appeared in universities and concert halls throughout the U.S., and on such festivals as the Taipei Lantern Festival, Brooklyn Academy of Music Next Wave Festival, Chautauqua, California’s Festival of New American Music, Bang on a Can Marathon and at the Percussive Art Society’s International Convention. Recently, Talujon has worked with composers Meredith Monk, Julia Wolfe and Eric Moe. This season, Talujon will tour Europe with Steve Reich and the Bang on a Can All-Stars.


A pylon is a new typographic term introduced to define the missing areas of a stencil typeface. Ascenders, arms, crossbars, counters, spines, shoulders, tails, stems and spurs: altogether there are over 20 components in the anatomy of type. There remains a gap in the vocabulary of this most respected of crafts, however. In the designing or cutting of stencil letterforms, one is invariably brought to a point wherein the supporting canvas is joined to counter of the letter. Up until now, these supporting areas have gone without definition or label. A gross oversight by the standards of any industry, let alone one with as rich and respected a history as typography.

Concert at Bourges Auditorium, France / February 13 / 8pm – Pianist Ana Cristina Domínguez Couturier premieres “En-Fa” for Piano and Tape


Ana Cristina Couturier began his musical studies in the Faculty of Music University of Veracruz with Enrique Marquez and Laura Sosa. She continued her studies at the Ecole Normale de Musique Paris “Alfred Cortot” where she gets her diploma in Piano by unanimous decision, a Diploma in Piano Teaching and a Diploma in Chamber Music in the class of Nina Patarcec. Currently she is a holder of the National Program scholarship for academic excellence to continue his studies of development piano in the Ecole Normale de Musique de Paris “Alfred Cortot” with Andre Gorog.

ACU & Kapsis- Selected at the 2010 New York City Electroacoustic Music Festival and Conference



The City University of New York announces the second New York City Electroacoustic Music Festival and Conference, to take place March 25-27, 2010 at the Graduate Center, 365 Fifth Avenue, and at other locations in New York City. A program of concerts, installations, demonstrations and other events is being planned.

The organizing committee for the Festival consists of Prof. Hubert Howe of Queens College, Paul Riker and Zachary Seldess of the CUNY Graduate Center, and Braxton Sherouse of the University of Florida.

Adjudication for the second New York City Electroacoustic Music Festival will be carried out by our international panel of judges. These judges will remain anonymous for the duration of the submission process.

About ACU – Particularly important in acupuncture is the free flow of Qi, it is commonly translated as “vital energy”. Acupuncture treatment regulates the flow of Qi, tonifying where there is deficiency, draining where there is excess, and promoting free flow where there is stagnation. An axiom of the medical literature of acupuncture is “no pain, no blockage; no blockage, no pain.” Acu is based on the idea of representing an ill sound organism full with blockages that eventually will heal by “pressing” specific points (speakers).

You can listen to the stereo version of ACU WORKS section of this website
(Better if listen with headphones)

March 25 – 27 2010 / New York City

Edgar Barroso appointed Resident Tutor at Adams House – Harvard University


Edgar Barroso will serve as a Resident Tutor for students in the fields of music, math, technology and the humanities.

Resident Tutors are valued and important members of the staff of Harvard College who play a vital role in the residential and educational life of undergraduates. Each House in the College forms a small academic and social community in which Resident Tutors and undergraduates live, eat, socialize and study together within the larger context of the College and University. Because of the informal nature of this environment, and the unique character of each individual House, it is important for both Tutors and students to understand Tutors’ multiple roles within the House system as a whole.

Also, Academic Advising: Composed of members drawn from across FAS departments and from various Schools within the University, the tutorial staffs help create Houses environments conducive to advising in a broad context, extending beyond, but not exclusive of, specific concentration advising. Each House designs its academic advising structure a little differently, but almost all Tutors have academic advising responsibilities.

The Talea Ensemble Premieres “Lunfarda” for Cello, Piano and four Percussions – February 27, 8 PM Paine Hall, Harvard University

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TALEA Ensemble

This piece is a labyrinth. First inspired by the painting “Dancers II” by Joan Miró, which took the piece into the categorization of a group of limited musical elements connecting and interacting by subtle lines and/or colors in the space (the same way as in the painting). And secondly the painting took Lunfarda to look for metaphors of movement between two persons. In other words the composer turned his attention into dancing. The piece was named Lunfarda because of the relationship with tango. Lunfardo is an argot of the Spanish language which developed at the end of the 19th century and beginning of the 20th century in the lower classes in and around Buenos Aires and Montevideo. Some Tango lyrics use it very heavily. The piece mapped some of the “accents” of the movement of two tango dancers. Surprisingly enough, the movements were always different regardless of the music, they are independent, unstable and some of them improvised. This piece tries to recreate a dance (a piece) that posses the freedom of these Tango dancers seeking for a conversation by hearing the “body of the other”. The percussion elements function, is to expand these relations between the two elements and also to provide a disintegration process of the traditional characteristics of the cello and piano, and confuse them into percussion noise production devices. The percussion instruments are integrated in the musical phrases and are a vital part of the piece color. After all, Tango is a hybrid, the same way Lunfarda is.

February 27, 2010, 8 PM
Paine Hall, Harvard University
Cambridge, MA

“Kapsis” awarded with: Best Experimental Original Music Score, Best Experimental Director, Best Experimental Visual Effects at “Los Angeles reel Film Festival”

Sin título


Watch “Kapsis” in the WORKS section of this website
(Better if listen with headphones)

January 30-12, 2009 / Los Angeles, California.

Concert at Harvard John Knowles Paine Concert Hall – Thursday, December 10 / 8pm – Violinist Gabriela Diaz Premieres “Echoic” for Violin, Gamelan and Live Electronics


The superb violinist Gabriela Diaz will be in charge of the premiere.

Gabriela Diaz: This violinist holds undergraduate and graduate degrees in violin performance from the New England Conservatory, where she studied under James Buswell. She received numerous honors at the conservatory, including the Chadwick Medal, the highest recognition given to a graduate of NEC, and the John Cage Award. She is now actively involved in contemporary music concerts at the New England Conservatory, Harvard University and MIT. She is a member of the Callithumpian Consort, Radius, Firebird and White Rabbit Ensembles.

Listen to the piece in the WORKS section.

John Knowles Paine Concert Hall
December 10-11 2009

“Kapsis” – Official Selection at The International Film Festival Ireland


International Film Festival Ireland

Qualified Festival IMDb Qualifying Festivals

A collaboration between composer Edgar Barroso, designer Yen-Ting Cho, filmmaker Aryo Danusiri, Kapsis is a 7 to 10 minute piece for flute, electro-acoustic music, and video art, which will be part of a multimedia operetta. It portraits the mesmerizing Nahua myth of a young girl who becomes a starfish. The goal is to represent the unrepresented, to provide though structured musical figuration an understanding of invisible forces and principles that regulated not only the myths and riddles nut a new narrative discourse.

This work was possible thanks to the support of the FILM STUDY CENTER AT HARVARD.

Watch “Kapsis” in the WORKS section of this website
(Better if listen with headphones)

September 4-11, 2010 / Ireland.

“Kapsis” – Official Selection at the Festivus Film Festival 2010 in Denver Colorado


The third annual FESTIVUS Film Festival is coming up January 14-17, 2010 in Denver, Colorado.

A collaboration between composer Edgar Barroso, designer Yen-Ting Cho, filmmaker Aryo Danusiri, Kapsis is a 7 to 10 minute piece for flute, electro-acoustic music, and video art, which will be part of a multimedia operetta. It portraits the mesmerizing Nahua myth of a young girl who becomes a starfish. The goal is to represent the unrepresented, to provide though structured musical figuration an understanding of invisible forces and principles that regulated not only the myths and riddles nut a new narrative discourse.

This work was possible thanks to the support of the FILM STUDY CENTER AT HARVARD.

Watch “Kapsis” in the WORKS section of this website
(Better if listen with headphones)

January 14-17, 2010 / Denver, Colorado.

“Kapsis” Official Selection at the DA Vinci Film Festival – Corvallis Oregon


Launched in 1999, the da Vinci Film Festival began as part of the summer celebration of art, science, and technology, da Vinci Days. The original, a screening of animated films during the summer festival, has evolved into an established and well-attended annual celebration of independent film. Still a program of da Vinci Days, da Vinci Film Festival is now held in the spring, bringing audiences a variety of independent films from around the world, in several genres.


Watch the piece in the WORKS section.

March 12-14 2010

Film Scoring of the Feature Film “La Brújula la lleva el Muerto” by Arturo Pons



La Brújula la lleva el Muerto offical website

CONACULTA – Producciones Cinematográficas


A la muerte de su madre, un niño parte a Estados Unidos en busca de su hermano mayor. En el camino se encuentra con un anciano que a poco subirlo a su carreta, muere. Intentando seguir el norte de la brújula atrapada en la mano del muerto, se le agregan personajes a una carreta surrealista que lleva el norte perdido.


After the pasing of the mother, a boy decides to venture to the United States of America in search of his older brother. His way he encounters an old man that not long after letting him on his horse wagon dies. The boy is forced to find the north direction from a compass that is trapped in the old man´s hand, many singular characters appear in this surreal journey in route to the north.

Sombrerete Zacatecas – México 12.11.2009

“Logos” at the Tonhalle Düsseldorf – Ensemble Aventure Robert HP Platz, Dirigent


Works by Mario Lavista/ Hilda Paredes/ Romero/ Javier Alvarez Fuentes/ Julio Estrada/ Edgar Barroso

Tonhalle Program

Ensemble Aventure


“Catalyst” for viola solo is awarded with “The Bohemians” (New York Musicians Club) Prize


By the gift of prize money from “The Bohemians” (New York Musicians Club) there has been established a prize in original musical composition. The interest of the bequest will be awarded for an original composition for one or two instruments.

Cambridge, MA 20.05.2009

Xelo Giner performs IOD for saxophone and electronics at Aveiro Conservatory in Portugal


Xelo Giner

Saxophone musician and teacher of contemporary chamber music at the Conservatorio Superior of Music in Aragon. Concert musician sponsored by the German firms Julius Keilwert.

Iod is the Greek root for violet. Dedicated to the saxophonist Xelo Giner, Iod searches the relationship between the electronics and the saxophone highlighting the instrument sound, and extend it timbre and dynamic wise. The outline of the piece is planned so that the temporal distance between the interactions between the saxophone and electronics are quite short. The strategy to achieve this relationship in the piece, is to compose it as a piece for piano, the saxophone representing the right hand and the electronics the left hand. In this way the different interactions between the saxophone and electronics, create line and counterpoint relations.

May 2 – 2009

Most recent works of young mexican composers / Kapsis for flute solo at Klangspuren 2009 – Austria


Klangspuren 2009

20.00 hrs
Feuerwehrhalle, Schwaz


Most recent works of young mexican composers

Victor Baez – Snukelel uk’um | Alejandro Romero – Erebo | Sandra Lemus – K’unk’un | Jaime Wolfson – Pieza para siete músicos y un espacio grande | Víctor Ibarra – new piece world premiere | Paúl León – new piece world premiere | Edgar Barroso – new piece world premiere | Samuel Cedillo – new piece world premiere | Robert Kellner – Sutel, nach Mary Bautista | Tomasz Skweres – Sakubel Osil | Simon Vosecek – JSIMTASBANEJETIK / GEISTER

Austria – 18.09.2009

EMS09 – Heritage and future – Presentation of the paper “Online Compositional Tools, Synectic Strategies and Free Trade of Knowledge; a Wish List for the Future of Electroacoustic Music”


“The EMS Network has been organized to fill an important gap in terms of electroacoustic music, namely focusing on the better understanding of the various manifestations of electroacoustic music. Areas related to the study of electroacoustic music range from the musicological to more interdisciplinary approaches, from studies concerning the impact of technology on musical creativity to the investigation of the ubiquitous nature of electroacoustic sounds today. The choice of the word, ‘network’ is of fundamental importance as one of our goals is to make relevant initiatives more widely available.”

EMS 09 – Website

Buenos Aires 22.06.2009

Research Field Trip to Oaxaca for Intermedia Operetta


During Spring Break a team of Harvard Graduate Students from different fields, Music, Visual Anthropology and Political Economy along with sociologist and historians from Mexico explored the state of Oaxaca in order to compiled sound and visual material to include in an Interdisciplinary Multimedia Operetta. This project is funded by The Film Study Center at Harvard

Edgar Barroso – Composer
Aryo Danusiri – Visual Anthropology
Mauricio Fernandez-Duque – Political Economy


Oaxaca 18.03.2009

LOGOS at the Summer Institute for Contemporary Performance Practice – New England Conservatory


First Concert
Stephen Drury, Mathias Reumert, and the Callithumpian Consort


Karlheinz Stockhausen: Kontakte

Edgar Barroso: Logos

Jonathan Harvey: Homage to Cage, … Chopin (und Ligeti ist auch dabei)

Boston – 06.15.2009

Mellon Graduate Student Conference Humanities Center / Objects of Knowledge, Objects of Exchange: Contours of (Inter)disciplinarity – Harvard University


Conference organizers:

Edgar Barroso – PhD Candidate in Music Composition
Joseph M. Bender – PhD Candidate in Romance Languages – French
Melih Egemen – PhD Candidate in Inner Asian and Altaic Studies
Bethany Kibler – Center for Middle Eastern Studies
Federico Pérez – PhD candidate in Social Anthropology
Alvaro Santana-Acuña – PhD Candidate in Sociology

Humanities Center at Harvard

Conference Website

At New England Conservatory, “Aus den Sieben Tagen”. Six hours of Karlheinz Stockhausen – The Boston Globe


The CALLITHUMPIAN CONSORT is dedicated to the proposition that music is an experience. Founded by pianist and conductor Stephen Drury, we are an ensemble producing concerts of contemporary music at the highest standard.

Edgar Barroso – Live Electronics

New England Conservatory

Garth Knox Premieres “Catalyst” for viola solo by Edgar Barroso



In 1990 Garth Knox joined the Arditti String Quartet, playing in all the major concert halls of the world, working closely with and giving first performances of pieces by most of today’s leading composers including Ligeti, Kurtag, Berio, Xenakis, Lachenmann, Cage, Feldman and Stockhausen (the famous “Helicopter Quartet”). More info…

Saturday February 14th, 2009
8 pm
John Knowles Paine Concert Hall
Harvard University

Harvard University

February 14.2009

Concert at The New England Conservatory – Jordan Hall

Searching your Synesthesia
For flute, clarinet, cello, piano and live electronics


Led by Stephen Drury of the New England Conservatory (NEC) faculty, the Callithumpian Consort loose aggregation of NEC students, alumni, and new music enthusiasts has performed locally, on the East Coast, and in Europe.

Tonight’s program includes two string quartets from Walter Zimmermann’s Lokale Musik: Keuper and 10 Fränkische Tänze, Harrison Birtwistle’s Ritual Fragment, Louis Andriessen’s Workers’ Union, as well as works by Edgar Barroso, and NEC faculty member John Heiss.

New England Conservatory

January.27.2009 – Boston, MA. (USA)

Premiere of “ACU” at Harvard University John Knowles Paine Hall – Diffuse by the HYDRA Speaker Orchestra


Electroacoustic 8.0 Multichannel Piece

The piece is looking to emulate the concept of acupuncture by “pressing” sound to specific places in specific time and space. In this piece sound represents Vital Enery or (ch’í), and the human body represents the theater. Acupuncture (lat. Acus, needle (noun), and pungere, puncture (verb)) is a technique of traditional Chinese medicine that involves the insertion and manipulation of needles in the body with the aim of restoring health and welfare of a patient. By inserting thin needles into specific points or resonators (known in Chinese xue) each meridian seeks to balance energy disrupted in the body which governs it. According to the Chinese conception, the vital energy (ch’í, or qui) flows through the body along meridians, or channels of communication channels, known in Chinese king. In the same way.

John Knowles Paine Hall

HYDRA Speaker Orchestra


AION presented by the “Grup Instrumental de Valencia” at Circulo de Bellas Artes de Madrid


For Ensemble 14:40″

In order to reward the creative work of young composers, the Institute for Youth Development of Spain is sponsoring Injuve 2008, a concert that will take place in the Círculo de Bellas Artes (CBA) to bring together the selected awarded works at Injuve Composition Competition for Young Creation in the category: Contemporary music.

Grup Instrumental de Valencia

Circulo de Bellas Artes – Madrid


LOGOS presented at Harvard University Group for New Music Concerts


This time the musicians from the White Rabbit Ensemble will present the acoustic version of LOGOS, commissioned by Visiones Sonoras Festival. This acoustic version is for violin, cello and piano.

Harvard University Group for New Music

Eric Hewitt – Conductor
Gabriela Diaz – Violin
Ben Schwartz – Cello
Yoko Hagino – Piano


LOGOS – Commissioned by International Visiones Sonoras Festival 2008


Fragment of the piece:

Edgar Barroso

A commission from the “INTERNATIONAL VISIONES SONORAS FESTIVAL 2008″ for the TRIO NEOS that will premiere the piece this November at Morelia, Mexico. This piece is based on the text “Against image. About Poetry and Philosophy” by the Mexican Philosopher Santiago Espinosa, currently a PhD candidate at the University of Paris-Sorbonne Paris IV, and the Aristotle definition of LOGOS as argument from reason, one of the three modes of persuasion.


Press – Presidencia de la República (Spanish)

Press – Cambio de Michoacán (Spanish)

Morelia – México 07.11.2008

Concert at FIAC “Festival Internacional de Arte Contemporáneo 2008”



These three works by EB will be presented on the 14th of August.

“La Percusión de tu Frecuencia” for flauta y live electronics.
“IC” Cello – Interfaces Improvisation.
“OME” Improvisation with Flute, Clarinet, Cello, Piano and live electronics.

Flute: Jessi Rosinkski
Clarinet: Rane Moore
Cello, Interfaces and Electronics: Edgar Barroso

Press – Interview Periódico AM / Mexico

Press – Interview RazonEs de Ser – Torreón / Mexico

Press – Interview Correo de Guanajuato / Mexico

León – MÉXICO 14.08.2008

Finalist at the “INJUVE – Encuentro de Composición de Música Contemporánea 2008 – Panel de Lectura”


6 composers were selected to be included in a concert in Madrid and to be part of a CD. The meeting is organized by the Ministry of Culture of Spain and will be held in CEULAJ (Euro-Latin American Youth Center), Mollina (Malaga-Spain).

Se seleccionaron 6 compositores de Iberoamerica para la grabación de un CD y un concierto en Madrid. El encuentro es organizado por el Ministerio de Cultura Español y se celebrará en el CEULAJ (Centro Eurolatinoamericano de Juventud), de Mollina (Málaga-España).

27.07.2008 Málaga, SPAIN