As Mankacen, in 2004 I composed this track using samples of femenine voices. I recorded several women reading poetry and other politic and personal texts by remarkable latinamerican historical women. These recordings were demanded by Yasna Lepe, chilean choreographer who created a dance piece inspired by these women. So I freely did take some syllables of these texts readed by ballerinas and used some samples of string instruments to compose this work. The bass strings were the only sounds that were no sampled material.

Mankacen Hallazgo 02 2004

“Ciento veinte millones” (2005) 10’44” Stereo. 
Inspired by the book "Las Venas Abiertas de América Latina" by Eduardo Galeano.

Commissioned by the Laboratorio de Informática Musical Arcis, Universidad Arcis, Santiago de Chile. Premeried: Festival Internacional de Música Electroacústica de Chile Ai-maako 2005. Included in the triple CD “50 años de Música Electroacústica en Chile, 1956 – 2006” (Chilean composers compilation. 2006: Fonmus/Pueblo Nuevo/LAIM), Prize to the best compilation at the Qwartz prizes 2008, France.
http://www.electrocd.com/en/cat/pn_cd_001/

Ciento Veinte Millones (2005)

Third part of my electronic music tribute to Salvador Allende G.

Tercera parte (La decision)

Stereo reduction of the Octophonic original. Voice: Mathilde Rioton.
Third place ex-aequo in the 2016 SIME Electroacoustic Music competition, Lille, France. Premeried: University of Sheffield Concerts cycle ‘Sound Junction’ October 2015.
This is the second part of the Acousmatic Cycle “La Lumière Artificielle”. he whole cycle was inspired by an interview of 1919, where the Chilean avant-garde poet Vicente Huidobro, talked about a new project:
"The creationist and simultaneist poem La Lumiere artificielle, for three voices on gramophone with new procedures (...)"(1). 
This plan was never done. In the future, the poet would create works with sound as central axis and in Spanish and French, becoming an important reference for sound poetry in the Spanish speaking world.
This is a work in progress, a cycle inspired by Huidobro’s statement and the idea of voices in a fixed media, dealing with these issues: languages, abstract sounds by voice, new and old technologies.  This Cycle is part of my research project as PhD student in the University of Sheffield.
(1) Huidobro, 1919, cited in García‐Huidobro, 2012: 34: García‐Hudobro, Cecilia. A la interperie (entrevistas 1915-1946). Santiago de Chile: Ed. Ocho Libros, 2012.


La Lumière (2015)Octophonic, Stereo version

Excerpt.
Especialmente compuesta para el concierto temático del 11 de Septiembre que tradicionalmente organizaba cada año el Laboratorio ARCIS de Informática Musical (LAIM), de la Escuela de Música de esa universidad, con el apoyo de la SCD. Inspirada por los grabados y pinturas de Francisco de Goya y su inquietante actualidad.
Specially composed for the thematic concert of September 11th in Chile, which has been traditionally organised every year by the Laboratorio ARCIS de Informática Musical (ARCIS Computer Music Lab) at that university with the support of the SCD (Chilean copyrights society). Inspired by the paintings and printings by Francisco de Goya and they disturbing topicality.

01 El Sueño De La Razón Produce Monstruos (Excerpt) (2009) Stereo

El campo, el agua, las aves y el aire limpio.
La ciudad, las máquinas, los tarros y el aire sucio.
Diversos materiales que connotan diversos significados y que sirven de material para el juego de transformaciones sonoras y el ejercicio de la composición concrète.
Buscando el canto de los pájaros no pude eludir el sonido del perro.
Buscando el sonido de la campana de viento no pude eludir el sonido del tráfico.
Quizás esa dualidad y diversidad de connotaciones y a la vez de cualidade ssonoras, en tanto que materiales acusmáticos, representa momentos de mi fluir existencial.
Estreno: 11 de Septiembre 2007, Concierto electroacústico Sala SCD Bellavista, organizado por el LAIM.

Country side, water, birds and pure air.
City, machines, tin cans and polluted air.
Different materials which connote different meanings and which work as materials for the game of sound transformations and the excercise of concrète composition.
Searching for the birds’ songs, I can’t avoid the sound of the dog.
Searching for the wind chimes sounds, I can’t elude the traffic sounds.
Perhaps this duality and diversity of connotations and at the same time of sound qualities in terms of acousmatic materials, represent moments of my existential flow.
Premiere: September 11th 2007, Electroacoustic concert at the SCD Bellavista auditorium, organized by the LAIM.

02 Perro-Campo/Tarro-Ciudad (2007)Stereo

Materiales exclusivamente generados mediante síntesis por software son utilizados mediante criterios y técnicas acusmáticas, teniendo como pie forzado el no uso de sonidos grabados.

Una estructura con recorridos desde puntillismos hacia acumulaciones graduales de registros se constituye en un viaje sonoro potenciado por la espacialidad interna. Los primeros doce segundos de la pieza son una recreación libre, pero temporalmente idéntica, de los primeros doce segundos de la composición “Guararia Repano” (1968) de José Vicente Asuar, a quien "A SU Árbol Retorno" está dedicada como un sentido homenaje en su calidad de pionero y destacado creador de la electroacústica chilena.

Estrenada en el Festival Internacional de Música Electroacústica de Chile, Ai-maako 2006.

Sound materials created exclusively by software synthesis are used with acousmatic criteria and techniques, having as a mandatory condition the avoidance of sounds recorded with microphone.

A structure with paths from pointillisms towards gradual accumulations of tessituras, becomes a sonic travel enhanced by the internal spatiality. The first twelve seconds of the piece are a free version, but identical in timing, of the first twelve seconds of “Guararia Repano” (1968) by José Vicente Asuar, pioneer and remarkable composer of Chilean electroacoustic music, to whom “A SU ÁrbolRetorno” is dedicated as an emotive tribute.

Premeried at Electroacoustic Music International Festival of Chile, Ai-maako 2006, Santiago de Chile.

03 A SU Árbol Retorno (Excerpt) (2006) Stereo

Compuesta durante un curso de composición electroacústica con Federico Schumacher en 2007. Claramente se aprecian infinidad de materiales, tanto de las grabaciones originales como de los procesos posteriores. La premisa de trabajar sin incluir otras fuentes y crear nuevos sonidos solo a partir de las originales, fue interesante, pues esa paradoja entre intención y resultado ("lo escrito en el papel y lo que se concreta después") reveló el modus operandi de aquel momento, algo heterogéneo y quizás barroco de alguna manera.

Estreno en un concierto especial con las obras del curso realizado en el LAIM, Chile, 2007.

Created during an electroacoustic composition course with Federico Schumacher in 2007. It is clear to perceive many materials both from the original recordings and from the subsequent processes. The premise of work avoiding the inclusion of other sources and created just from the originals was interesting since this paradox between intention and outcome (“what it is wrote on a paper and what is materialized after) revealed the modus operandi at that moment, partly heterogeneous and perhaps baroque in some way.

Premeried during a special concert alongside the pieces of the course at the LAIM, Chile, 2007.

04 Del Papel Al Hecho Hay Mucho Trecho(2007) Stereo

Partiendo de sonidos de papeles y principalmente vidrios, esta pieza es una continuidad de la miniatura “Del papel al hecho hay mucho trecho” del 2007. Estrenada en el Festival Internacional de Música Electroacústica de Chile, Ai-maako 2009. Obra finalista del concurso de la Fundación Destellos (Argentina) en su versión 2010.
Starting from paper and glass sounds, this piece is a continuation of the miniature “Del papel al hecho hay mucho trecho” (2007). Premeried at Electroacoustic Music International Festival of Chile, Ai-maako 2009, Santiago de Chile. This work was finalist in the Fundación Destellos (Argentina) electroacoustic competition of 2010.

05 El Papel Del Vidrio (Excerpt) (2009) Stereo

Esta obra acusmática fue compuesta usando solamente materiales obtenidos mediante síntesis. Para obtener el carácter de la pieza, síntesis análoga y digital fueron combinadas. Estos materiales fueron obtenidos de un Korg Monotron, un Atari Punk Console y algunos sintetizadores de software y fueron sometidos a una variedad de procesamientos, desde los más simples a los más complejos. Fue compuesta en una residencia en el Laboratorio ARCIS de Informática Musical (LAIM) de esta universidad en Santiago de Chile. A pesar del uso exclusivo de sonidos electrónicos, la obra fue creada según la estética de la musique concréte. 
Estrenada en el Festival Internacional de Música Electroacústica de Chile, Ai-maako 2012.
This acousmatic work was composed using only synthesis as source materials. Analogue and digital synthesis were combined to get the sound character of the piece. These source materials were obtained from a Korg Monotron, an Atari Punk Console and some software synthesizers and underwent a range of processing, from simple to much more complex. It was composed in residence at the Computer Music Laboratory of the Arcis University at Santiago de Chile. Despite the exclusive use of only electronic sounds, the piece was created under the musique concréte aesthetics (Concretamente=Concretly)

Premeried at Electroacoustic Music International Festival of Chile, Ai-maako 2012, Santiago de Chile.

06 Concretamente (Excerpt) (2012) Stereo

07 Un Regalito Misterioso (Excerpt) (2014-2015) Stereo

Inspirada por los grabados y pinturas de Francisco de Goya.
Estrenada en Septiembre de 2009 en el Ciclo de Conciertos de Música Electroacústica organizado por el Laboratorio Arcis de Informática Musical y la SCD. 

El Sueño de la Razón produce Monstruos (2009)

Like Dave Bowman, Major Tom embarks on a journey through the cosmos and at the same time by the metaphysical space to a distant Orion, leaving behind a multidimensional Blue, which, however, will accompany him forever...
This stereophonic acousmatic piece was composed between January and July in the University of Sheffield Sound Studios.
Dedicated to David Bowie.

Tom... Far... Orion... Blue... (2016)

"The Light" (2017) 
Duration: 10'00". Format: 8 channels - This is the stereo reduction
Voice: Natalie Verhaegen.
This is the fourth section of the octophonic cycle "La Lumière Artificielle", and corresponds to the third language used of three: French, Spanish and English.
In an interview of 1919, the Chilean avant-garde poet Vicente Huidobro, talked about a new project:
"The creationist and simultaneist poem La Lumiere artificielle, for three voices on gramophone with new procedures (...)"(1). 
This plan was never done. In the future, the poet would create works with sound as central axis and in Spanish and French, becoming an important reference for sound poetry in the Spanish speaking world.
This is a work in progress, a cycle inspired by Huidobro's statement and the idea of voices in a fixed media, dealing with these issues: languages, abstract sounds by voice, new and old technologies.  

(1) Huidobro, 1919, cited in García‐Huidobro, 2012: 34: García‐Hudobro, Cecilia. A la interperie (entrevistas 1915-1946). Santiago de Chile: Ed. Ocho Libros, 2012

The Light - Stereo Reduction

Pieza acusmática compuesta en 2009.
Partiendo de sonidos de papeles y principalmente vidrios, esta pieza es una continuidad
de la miniatura "Del papel al hecho hay mucho trecho" del 2007 y pretende ser junto a
ella parte una serie en torno al trabajo con sonidos de materiales físicos básicos como la
madera, el metal, el agua y los ya mencionados.
Obra finalista en el concurso de composición electroacústica de la Fundación Destellos
(Argentina) en su versión 2010. Grabada y producida por el autor en su estudio personal
durante 2009 en Santiago de Chile.

El Papel del Vidrio

SOMA Laboratory Contest Episode 4
Composed 99% using samples provided by SOMA.
Composed, produced, mixed and mastered by Alejandro Albornoz.
Valdivia, Southern Chile, June 2020.

Cold Rainforest

Miniatura acusmática especialmente compuesta por encargo del Centro Cultural de España de Santiago de Chile (www.ccespana.cl) para la exposición colectiva "20 años 20 artistas", inaugurada el 20 de Marzo de 2013, como parte de las celebraciones del vigésimo aniversario de este espacio cultural.
La pieza, junto al texto y un espectrograma impreso fueron expuestas junto al trabajo de otros destacados artistas con los cuales se jugó un "cadáver exquisto".
Texto y composición: Alejandro Albornoz
Voz: Alejandra Caro

Abro la escucha de par en par

Composer, sound and visual artist. Born and bred as musician within techno and industrial Chilean scene, he moves between different types of electronic music. He studied electroacoustic composition with Rodrigo Sigal and Federico Schumacher and works on acousmatic and live electronics since 2004. His music has been performed in several and prestigious festivals like Synthèse (Bourges, France), JIEM (Madrid), Bienal Internacional de Música Eletroacústica (São Paulo) and Sonoimágenes (Buenos Aires). He is an active member of the Electroacoustic Music Community of Chile (www.cech.cl) and of the Latinamerican Sound Art Network (www.redasla.org)

Usually he composes for theatre and dance. He has been producer of several concerts, meetings, conferences and publications, highlighting the International Festival of Electroacoustic Music of Chile “Ai-maako” and CD collections of Chilean electroacoustic music.

With studies in Fine Arts pedagogy (UMCE, Chile) and a Bachelor degree in Visual Arts (Universidad Mayor, Chile), he currently is a PhD researcher in Electroacoustic Composition under the supervision of Adam Stansbie and Adrian Moore in the Department of Music at the University of Sheffield, United Kingdom. The central topics of his research are human voice, poetry, language, acousmatic and algorithms.

http://alejandroalbornoz.wordpress.com

Alejandro Albornoz

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