LIPM is the inheritor and continuator of former institutions that began doing research and production of electronic music in Argentina in the late 50's: the Estudio de Fonología Musical of the University of Buenos Aires, founded in 1958, and the Laboratory of the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) of the Di Tella Institute, founded in 1964. Pioneers that developed those studios kept working together through time, and they are presently the main staff of LIPM.
LIPM's main interest is the diffussion of the current scope of contemporary music and its relationship to technology. A present day approach is maintained in composition research, teaching and diffusion activities. Its facilities are available to musicians interested in the possibilities that technology offers to composition, and to researchers and teachers who wish to widen their knowledge and develop new teaching methods. Also counselling and cooperation is provided to institutions specializing in teaching and musical research.
Diffusion is carried out through courses, workshops and lectures on the current problems of music and through concerts of contemporary music.
Works produced at LIPM have obtained awards at international competitions. Many composers who introduced themselves to electroacoustic techniques at LIPM are now doing research and teaching at important institutions in Argentina and abroad.
LIPM is involved in an active academic exchange with centers dedicated to electroacoustic music all over the world.
| Composer | Piece | Year |
|---|---|---|
| Bazán, Oscar | Austeras II | 1985 |
| Biffarella, Gonzalo | Mestizaje | 1994 |
| Homenaje a E.C.(tape and guitar) | 1994 | |
| Calzón, Miguel | Mudfish | 1990 |
| Castillo, Graciela | Y así era | 1988 |
| Cerana, Carlos | Estudio No 1 | 1987 |
| Glissandi | 1988 | |
| La fuerza de las cosas inferiores | 1989 | |
| Batimenti | 1990 | |
| Huellas digitales (clarinet & tape) | 1991 | |
| Minimax (radio-baton and soloist) | 1992 | |
| Cetta, Pablo | Bosco: jardín al compás del deseo | 1991 |
| Chab, Gustavo | Mirada roja | 1992 |
| Dianda, Hilda | Encantamientos | 1984 |
| Di Liscia, Pablo | Diálogo con mi anciano (guitar and tape) | 1989 |
| Edelstein, Oscar | Viril Occidente | 1987 |
| Viril Occidente II | 1990 | |
| Figueiras, Juan Carlos | Antiguo y perpetuo (tape and sax) | 1993 |
| Canción guerrera (tape, sax and flute) | 1994 | |
| Gandini, Gerardo | RSCH: escenas (tape, piano and speaker) | 1984 |
| Horta, David | Siete elementos | 1992 |
| Paradiddles | 1993 | |
| Kröpfl, Francisco | Mutación II | 1985 |
| Metrópolis-Buenos Aires | 1988 | |
| Cronique | 1990 | |
| Relato | 1991 | |
| Lorca, tres poemas | 1991 | |
| Percussion Music (percussion and tape) | 1992 | |
| Kröpfl, Francisco Martínez, Ariel | Música para la inauguración del auditorio | 1983 |
| Kusnir, Eduardo | ¿Cómo es Lily? | 1985 |
| Buenos días, fue un buen día | 1991 | |
| Larraburu, Fernando Pascaner, Hugo | Transformaciones modulares | 1989 |
| Lluán, Claudio | Vestigios | 1991 |
| Mañanes, Rolando | A propósito de Hamlet | 1986 |
| Naparstek, Jorge | Simple y hueco (sakuhachi flute and tape) | 1992 |
| Perduca, Alberto | Con el resto | 1991 |
| Philipi, Roland | Buenos Aires | 1990 |
| Potvin, Ives | Tengo un tango | 1992 |
| Pozzati, Guillermo | El adiós | 1990 |
| Rapp, Jorge | Estudio II | 1984 |
| Rotter, Jorge | Montaje I | 1992 |
| Sad, Jorge | Hara | 1986 |
| Los giros del alma del toro | 1989 | |
| Tonal Nagual | 1990 | |
| Saitta, Carmelo | La maga o el ángel de la noche | 1989 |
| Serra, Luis María | Obertura y alabanza | 1984 |
| Simkin, Carlos | Contradicciones | 1986 |
| Música para saxo y sonidos electrónicos | 1990 | |
| Tauriello, Antonio | Dos estudios d'apres Max Ernst 1) Dos niños amenazados por un ruiseñor (Violoncello and tape) 2) Al menor ruido los pájaros se callan (Piano, violoncello, double bass and tape) | 1986 |
| Tejeda, Eduardo | Cántico de gloria a Juan Manuel de Rosas | 1989 |
| Valverde, Gabriel | Cúmulos | 1988 |
| Ekstasis | 1985 | |
| Vázquez, Osvaldo | Fragmentos para Leonín | 1986 |
| Viera, Julio | Divertimento I (piano, five percussionists and tape) | 1986 |
| Divertimento II ("El reloj") | 1988 | |
| Divertimento III (percussionist and tape) | 1992 |
| Composer | Piece | Year |
|---|---|---|
| Chab, Gustavo | Soliloquio | 1991 |
| Figueiras, Juan Carlos | Desde la torre (flute and tape) | 1992 |
| Goldberg, Silvia | Re-nacer | 1991 |
| Leichman, Javier | Veranito | 1992 |
| López Lezcano, Fernando | Búsqueda | 1987 |
| Lluán, Claudio | Estudio cinético No 1 | 1987 |
| Minsburg, Raúl | La huella de Vincent | 1992 |
| Moliterni, Antonio | Página blanca | 1992 |
| Perales, Stella | Planos imaginarios | 1987 |
| Piantino, Fernando | Ambulat hic armatus homo | 1987 |
| San Martín, Patricia | Expansión | 1991 |
| Composer | Piece | Year |
|---|---|---|
| Kröpfl, Francisco | Orillas | 1988 |
| Composer | Piece | Year |
|---|---|---|
| Kröpfl, Francisco | Cuenca, Presagio de pájaros | 1988 |
| Composer | Piece | Year |
|---|---|---|
| Calzón, Miguel | Three Winters | 1991 |
| Cerana, Carlos | Fall | 1993 |
| Cetta, Pablo | ... Que mi hiciste mal | 1992 |
| Di Liscia, Pablo | Alma de las orquestas | 1993 |
| Leichman, Javier | Los viajes de Gulliver | 1994 |
| Composer | Piece | Year |
|---|---|---|
| López Lezcano, Fernando | Hot'n cold | 1991 |
| Pozzati Guillermo | Stanford (a mi padre) | 1992 |
| Pampín, Juan Carlos | Apocalypse was posponed due to lack of interest | 1994 |
Laboratorio de Investigación y Producción Musical Centro Cultural Recoleta Junín 1930 (1113) Buenos Aires República Argentina Phone and fax: (54-1) 804-0877 Alternative fax: (54-1) 331-567
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