(b Santiago de Chile, July 31, 1934; d Santiago, Oct 10, 1994). Chilean musicologist. He studied composition and musicology at the University of Chile under Alfonso Letelier and Juan Orrego-Salas (taking the licentiate in 1960 with Acústica y sonido musical), and privately under Lucila Césped; he also studied musicology under Lang, Edward Lippman and Ernest Sanders at Columbia University (MA 1964), and composition and electro-acoustic music under Beeson, Luening and Ussachevsky. Subsequently he was professor of musicology at the University of Chile (1964–82), where he was also secretary of the music faculty and editor of Revista musical chilena (1964–8, 1981). At the University of Chile he directed the Institute of Musical Research (1968–70) and was dean of the faculty of music and performing arts (1973–6). In the 1980s he transferred his instructional and research activities to the Catholic University of Chile where he remained until the end of his life. He was vice-rector there (...
revised by Élise Petit
(b Córdoba, Jan 21, 1943). Argentine composer and musicologist. From 1958 to 1963 he studied composition at the National University of Córdoba with Carlos Gasparini, Olger Bistevins, Juan Carlos Fernández, Ornella Devoto, and César Franchisena. He also studied serial techniques with Juan Carlos Paz (Buenos Aires, 1960–62). In 1961 he began composing his first instrumental works (Interpolations, for ensemble, and a piano sonata) and his first electro-acoustic works (Ceremonia and Hierro y espacio, 1962). From 1965 to 1968 he ran the electro-acoustic music studio of Córdoba University, and in 1966 took part in Lejaren Hiller’s course on computer-aided composition at the University of Illinois. During this time he concentrated his research on the interaction between instrumental and electronic music, in works such as Untitled, a multimedia composition involving four instrumental groups, electronic transformations, movement, and lights (1965), Sonata 2, Sonata 3, and ...