Catexis. (2008-2009).   25m 

Constructed upon sound transformations of phonemic gestures emitted by the dancer that constitute the germ of dance motion itself. The piece explores the existence of a natural morphology present in certain phonemic objects, this means that the physiological activity of the vocal tract involved in its production is analogical to the described phenomena in the “real world”. The motion of the organs in the vocal tract (uvula, velum, larynx, tongue, teeth, etc) conform a miniature choreography which is amplified through dance motion and sonic transformations diffused in a multichannel loudspeaker array. Catexis is the second part of a large scale project developed with dancer Muriel Romero.

-NG     -SL     -SPR     -ST

Giseliña. (2008-2009).   35m

Music composed for the ballett Giseliña (CCG), directed by Cisco Aznar. The music is divided in six parts and develops multiple sonic modulations of the voices of Maria Callas and Alicia Alonso.


Acusmatrix. (2008).   40m

Acusmatrix is a  two-entry matrix conceived for the interaction of human motion and sound in continuous transformation. In this case  acquires the shape of  an acusmatic bird treaty for one dancer and tridimensional sound theater in sixteen channels. The piece is performed by an hybrid quintet composed by  an interpreter (the dancer) and four species of european birds, whose chants rotate and transform creating a genealogy  of sound characters that are  perceptually connected. The goal of the piece focuses on the correspondence and the interaction of dance gesture and sonic gesture. The piece was created under a period of residence at Universidad de Alcalá de Henares and La Casa Encendida. Acusmatrix is the first part of a large scale project developed with dancer Muriel Romero.


ANDRÓGENA. (2007-2008).   18m

Sonic transformations of the phrase “ven conmigo (come with me)”. The piece recreates a brazilian daimonic ritual. Composed for the piece Andrógena de Minas (Compagnie Buissonniere-Laussane ,Switzerland).


DROSOPHILIA. (2011).   1m

Created for LA CASA ENCENDIDA’S Project Are 41 from new Madrid Scene Mistaken?. Composed entirely upon sonic transformations of an utterance of Salvador Dalí that says: “ácido desoxirribonucleico (deoxyribonucleic acid or DNA)”. The piece develops different mutations of the original sonic cell that constitute a sound metaphor of the autopoietic nature of sound.



KONOKOL. (2008-2009).   4m

Sonic transformations of a 3 second indian utterance performing a konokol phrase. Composed for the WOCMAT International Workshop of Computer Music in Tai-Pei (China). Performed by Palindrome Inter Media Performance Group. October, 2009.



BLUMENKABARETT. (2007).   34m

(2007) For trumpets, percussion and computer. The melodic contours of japanese speech are imposed on the trumpets making them talk with unusual bendings and formant structures. Composed for the piece Blumen Kabarett (Compagnie Buissonniere-Laussane ,Switzerland).

BLUMENKABARETT (Excerpt)         


SILEM. (2005).   17m

This piece develops the husky voice of Miles Davis through multiple sonic transformations, revealing his complex personality and the fact that his trumpet sound was actually as personal as a voice.



Wine Under Moon. (2009).   25m

Music composed for Wine Under moon. A project with Palindrome and Missouri State University. The music of Wine Under Moon was composed in order to reveal the tone quality of chinese speech. For this purpose the pitch contours (chinese tones) of the words are extracted  (using linear predictive coding) and then either imposed on acoustic chinese instruments or resynthesized as sine tones that coexist with the original vocal source. These vocal sources are also transformed using time varying time stretchings, spectral stretching, generation of crowd textures and different granulation approaches. The composition was made using CDP (Composers Desktop Project) and Supercollider language. The premiere took place at ELLIS HALL in MISSOURI STATE UNIVERSITY (Springfield, EEUU).

WINE UNDER MOON (Music Excerpt)

THE IRIN. (2009-2010).   35m

Music composed for the ballett The Irin-der Fluch des Engels. A production of Mainz StaatsTheater (Mainz, Germany).

THE IRIN (Excerpt)    

Stocos. (2011).   50m 

Stocos is the third part of a trilogy focused on the analysis and development of the interaction between sonic gesture and dance gesture inside three dimensional sound spaces. In this new piece Muriel Romero and Pablo Palacio collaborate with media artist and artificial intelligence researcher Daniel Bisig.

Stocos is the third part of a trilogy centered on the analysis and development of the interaction between sonic gesture and dance gesture in a three-dimensional sound space. This series of pieces are developed inside a set of loudspeakers surrounding both the stage and the audience, and within which sound objects move and transform following spatial trajectories associated with the movement of the dancers.

Stocos is a tran- sdisciplinary project that covers generative dance, stochastic sound synthesis and artificial intelligence via the design of an interactive swarm simulation. In Stocos both sound and light may interact with dance motion.

As a result, the stage becomes a responsive environment whose visual and acoustic properties emerge from the mutual interactions between dancer and simulation.

STOCOS (clip)          STOCOS (rain excerpt)          STOCOS (random walks)
Facing The Blank Page. (2010-2011).   45m 

Composed in eight channels using only dynamic stochastic synthesis. All sounds in the piece are created from scratch using via an original implementation of the algorithm in Supercollider language. An stochastic score for a 27 light structure was also composed for the stage performance of the piece The piece was composed for Maqamat Dance Theater (Lebanon, Beirut) and it was premiered in January 2011 during the Attakkalari India Biennal, Bangalore (India).