Argentine composer, graduated from the Conservatory of Music “Manuel de Falla” with a specialization in Symphonic and Chamber Music, and Senior Lecturer in Music with a specialization in Composition. Degree in Electroacoustic Composition by the National University of Quilmes (UNQ) in Argentina, where she obtained a Training Fellowship
in Teaching and Research. Participates in the research program Temporal Systems and Spatial Synthesis at Sound Art.
She has composed works for solo instruments, ensembles, orchestra, chamber choir, electroacoustic and mixed media works. Her work “Modos en decantación” was
selected to participate in the workshop for composers conducted in 2013 by the Arditti Quartet (UNQ). Her works are released by renowned musicians and presented in
prestigious venues in Argentina in major concert series.
Her works have been selected to participate in the international festivals: Música de
Agora na Bahia (Brazil) in 2014, 41 st International Computer Music Conference
(Denton – USA) in 2015, 43 rd International Computer Music Conference 2018 (Daegu
– South Korea), L’Acusmonium AUDIOR (Piemonte – Italy) in 2015 and 2017, New
York City Electroacoustic Music Festival 2016, 2017 and 2018 (New York – USA),
MUSLAB (Mexico and England ) in 2016, XI Jornadas de la Música Contemporánea
(Cali – Colombia) in 2016, Bernaola Festival XIV Edition, AKUSMA (Vitoria-Gasteiz –
Spain) in 2017, and the Delian Academy for New Music (Mykonos – Grecia) in 2018.
In L’Acusmonium AUDIOR, the world premiere was held at the Teatro Espace (Turin –
Italy), of his work Simbiosis, composed by order of the Associazione AUDIOR. This
electroacoustic work integrates the Lichens CD.
1/ Abismos de luz* (2008) Duration: 6′ 21″ – Sandra Elizabeth González.
The overall control of the work is the timbral modulation.
Gradually, starting from the serious sonority that formed the mass, a polyphony begins to be generated, with percussion sounds and new timbres.
The point of inflexion, tímbricamente luminous, speaks by means of smooth sounds too rough and percussion metallic. From there the polyphony returns, varying the sounds used.
Then it approaches the counterpoint of structures to grant greater mobility to discourse.
The polyphony is disintegrating to conclude; and to remember the timbre of the
inflexion, it vanishes with a breath giving the sensation of an open end.
The calm and luminous sonority represents the “light” in the “abyss”, reflected in dark timbres, at times hurtful.
Expression of SS Juan Pablo II, Letter to Artists (1999)
2/ Espacios evocados (2010) Duration: 8′ 04” – Sandra Elizabeth González.
The electroacoustic work is organized into four sections, four sound spaces
characterized by a timbre identity and a different texture.
The section that starts the work and appears cyclically as a link between the different spaces is a monody, which gradually modifies its texture.
The first space has a progressive polyphonic texture, which gives dynamism and is
made up of bells and trumpets.
A contrapuntal texture gives identity to the second space, which speaks through
The third space is static and consists of timbres of strings and resonances.
To conclude the work, the fourth space formed by percussion timbres presents the
characteristics of a mass texture that progressively disintegrates and leads us from
statism to dynamics.
3/ Espacio imaginario (2016) Duration: 09′ 54” (Stereo) – Sandra Elizabeth González.
The electroacoustic work for surround sound in quadraphony is created using processed timbres of violoncello, percussion, flute and piano. It presents the artistic game with the auditory schemes proposed by Gary Kendall, through the disruption of the containercontent relationship and the domain of the disturbance. Starting from relationships of incongruence and congruence between conceptual sources and source images, the work is organized in three sections.
4/ Simbiosis (2017) Duration: 9’:12’’ – Sandra Elizabeth González.
Lichen Thamnolia vermicularis was the starting point for this work’s composition. It
exists on soil and stone in the boreal and mountainous regions of the Arctic and North.
The concept of symbiosis is transferred to the interaction of the different sound sources used. This intimate association evolves during the musical discourse.
The present electroacoustic work was composed within the framework of the research program “Temporal Systems and Spatial Synthesis in Sound’s Art”. Specifically within
the project ” Sound’s Spatial Synthesis”. It’s been created by arranging processed tunes of flute, violin and percussion.
It raises the artistic game with the auditory schemes proposed by Gary Kendall (2010),
through the disruption and mastery of the disturbance. The work is organized on the basis of relations between “situations of congruence” and “situations of incongruity” between conceptual sources and source images. The expectation of congruence is
sought from the “situation of incongruity”, in which multiple conceptual sources present a unique source image.
5/ Imágenes cinéticas (2018) Duration: 8’ 00’’ (Stereo) – Sandra Elizabeth González.
The electroacoustic work for surround sound in quadraphony was composed to be premiere at the concert organized by Delian Academy for New Music in June 2018. This work was composed within the framework of the research program Temporary systems and spatial synthesis in sound art. It presents theartistic game with the auditory schemes proposed by Gary Kendall, through the disruption of the container–‐content relationship and the domain of the disturbance. He also discusses the relationship between “situations of congruence and incongruity”.
6/ One Piece for Two Imaginairy Piano’s (2014) Duration: 11’56’ – Roland Emile Kuit.
Quadraphonic work as an electroacoustic duet.
7/ Piano Sequence (2014) Duration: 10’44’ excerpt – Roland Emile Kuit.
Research time as extended duration in timbre modulation..