Felipe de Almeida Ribeiro∗ and
Ricardo de Oliveira Thomasi†
∗State University of Paraná
School of Music and Fine Arts
Rua Barão do Rio Branco 370, Curitiba, PR
80010-180, Brasil
†University of São Paulo
School of Communication and Arts
Avenida Prof. Lúcio Martins Rodrigues 443,
São Paulo, SP 05508-020, Brasil
felipe.ribeiro@unespar.edu.br,
ricardothomasi@usp.br
Mapping Out the Origins
of Electroacoustic Music
Studios in Brazil
Abstracto: This research presents a mapping out of Brazilian electroacoustic music studios from 1960 a 2000, especially
those that emerged in connection with universities and other institutions. A major criterion was to understand
“music studios” as cultural territories, as places for creation, colaboración, and exchange. We present a timeline
highlighting the main trajectories of composers, institutions, and events, all related to the development of these
studios. We interviewed composers and investigated a wide variety of documents, ranging from scholarly papers and
journal articles through books, recordings, and websites. Como resultado, the timeline introduces the main spaces that have
fostered electroacoustic music in Brazil, revealing the idea of gambiarra [make do, workaround], a sort of Brazilian DIY
cultura.
Why Studios?
Music Studios As Cultural Territories
This article presents a primary mapping out of
electroacoustic music studios in Brazil from 1960
a 2000. As part of our methodology, we adopted
a timeline-based discussion that has a pedagogical
purpose. Timelines alone can distort facts, as seen
in the International Electronic Music Catalog
(Davies 1968), which overvalues the contributions
of Reginaldo Carvalho, Willy Correa de Oliveira, y
Gilberto Mendes, while ignoring Jorge Antunes, a
pioneer in the field (Guerra 2012). We have adopted
a selection criterion akin to the snowball-sampling
research method (Biernacki and Waldorf 1981) a
analyze and quantify the data. This was applied in
the analysis of documents—such as books, artículos,
reviews, audio recordings, and websites—alongside
a series of interviews we recently conducted with
composers such as Antunes, Rodolfo Caesar, Eloy
Fritsch, and many more. Por lo tanto, this timeline
was structured on the idea of a “network of facts,"
in which we could cross-check data.
Computer Music Journal, 46:1/2, páginas. 94–107, Spring/Summer 2022
doi:10.1162/COMJ_a_00639
© 2023 Instituto de Tecnología de Massachusetts.
It is crucial to distinguish music studios from a mere
physical space. Electroacoustic music studios are
“cultural territories,” with their local characteris-
tics. Joël Bonnemaison (1981) believes that space is a
vaguer notion without identity, whereas the concept
of territory is “essentially the place of exchange be-
tween men and their culture.” Additionally, Claude
Raffestin (1993) observes that “by appropriating a
espacio, concretely or abstractly, the actor territorial-
izes the space.” Therefore, the meaning of “music
studio” should be considered in a broader scope.
The development of electroacoustic music in
Brazil has resulted from the action and effort of a
few people who had to adapt ordinary spaces (apart-
mentos, university labs, and radio and commercial
studios) for electroacoustic music activities (Leite
2000). Además, the music studio as a cultural
territory has certain distinctive qualities, como
the composer acting as a smuggler, by collecting
goods in foreign lands, without paying an import
tax. A similar experience happened in East Germany
before the fall of the Berlin wall with “more illegal
than legal means” to obtain equipment (Heidenreich
2009).
Looking from this perspective enables us to
identify distinctive qualities. The appropriation
94
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of external cultures and technologies appears in
different interpretations of Brazilian culture: en el
metric adaptation of African rhythms with Euro-
pean music, constituting the basis for bossa nova
and samba (Sandroni 2001), or in the strategies to
evade the military dictatorship’s censorship (1964–
1985) by using sarcastic and subliminal messages
in pop songs (Tinhorão 1998). These aspects can be
observed in: (1) the national electroacoustic music
scene that incorporates notions of gambiarra (Obici
2014) and the low fidelity of the available technolo-
gies, or second-hand and recycled gear (Miranda
1995)—what Antunes called the “aesthetics of pre-
cariousness” (Lintz Maués 1989); (2) the emerging
studios hosting critical disagreement with the dic-
tatorship, which led to censorship and people losing
their jobs in institutions; y (3) the restoration of a
Latin American identity, recovering from a cultural
loss observed in the Latin American Course on
Contemporary Music (LAM 2022; Guerra 2012).
Gambiarraand the Aesthetics of Precariousness
Another critical perspective to consider is the
understanding of gambiarra, cual, according
to Giuliano Obici (2014), is a version of DIY and
hacking, specific to Brazil. An English translation for
gambiarra would be “make do” or “workaround.”
Music history has many instances of DIY-hackers,
such as Hugh Davis (cf. Mooney 2017), Nicolas
collins (2014), and David Tudor (cf. Driscoll and
Rogalsky 2004). These are well-known examples of
artists who needed to build or hack technological
devices, either due to finances or, en algunos casos,
because they could not always find solutions in
commercial devices. DIY-hacking is not identical
to the diverse political and economic realities
worldwide, sin embargo. Obici (2014) explains:
Gambiarra tends to be configured as an improvised
elaboration that shows a challenge in finding solu-
tions to an immediate problem, be it related to as-
pects of daily life and primary survival in the face
of precarious resources. Although hacking also often
have this character of adaptation, patching, and re-
pair, gambiarra solutions tend to favor, apparently,
rustic solutions due to adaptation and lack of ma-
terials and tools, suggesting minimal effort, a tem-
porary solution, often without prioritizing the vir-
tuosic craftsmanship that would be characteristic of
hacking.
Experimentation, plunderphonics, remezclar, im-
provisation, live electronics, hacking, DIY, y
gambiarra are common aspects of Brazilian electro-
acoustic music (Velloso et al. 2016). Antunes set
up his home studio in 1961 with a theremin and a
sawtooth wave generator—both made by himself—a
Grundig tape recorder, and an acoustic piano (Lintz
Maués 1989). Antunes had difficulties, como
purchasing tapes and other equipment. As a solu-
ción (reported in an interview with the authors in
2022), he received magnetic tapes from his friend
Flávio Silva, who worked at the Alliance Française.
The tapes were of music programs from the broad-
caster Office de Radiodiffusion-Télévision Française
(ORTF), made for broadcast in Brazil. Antunes
would erase the tapes and use them for his own
compositions. Some background signal from the
original sound would remain after erasure, sin embargo,
and Antunes deliberately incorporated that into his
música. Through all these difficulties, some experi-
mental artistic possibilities emerged, what Antunes
ironically called an “aesthetics of precariousness.”
Per Anders Nilsson (2018) wrote: “Another view
on experiments is to regard the electroacoustic mu-
sic studio as an experimental system.” Experiencing
the studio as an experimental space also happened
with Luigi Nono when he worked at the Experimen-
talstudio des Südwestrundfunks (Alemania) con
flutist Roberto Fabbriciani. As Fabbriciani (1999)
recalled, Nono used to approach experimentation as
error, even chance, saying, “errors could suddenly
open up other possibilities.”
As an electronic music instructor in 1967 en el
Instituto Villa-Lobos, Antunes was not fully aware
of all technical terminologies. Por ejemplo, he did
not quite understand the distinctions between the
concrete and electronic approaches and used the
term “magnetophonic” to refer to the music with
recorded sounds and live acoustic instruments; nor
did he know that his term “closed tape” was already
known as a “tape loop.” When he heard about
Traité des objets musicaux by Pierre Schaeffer
Ribeiro and Thomasi
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(1966), he ordered a copy and translated the whole
libro, which became the basis of his course in Rio
de Janeiro. All this gambiarra was part of early
electroacoustic music in Brazil. No había
grand fundraising dinners, as happened with the
construction of the Telharmonium, no Rockefeller
Base, no outstanding facilities like Bell Labs
o, más tarde, with innovative companies like Moog (cf.
Chadabe 1997; Gluck 2007). Mendes (1978) sums up
gambiarra-based Brazilian music:
In modest home studios, improvised, almost hand-
hecho, the composers of this continent have been re-
alizing an appreciable, sensitive, expressive musical
trabajar. The limit of their resources has conditioned
an aesthetic that is still directed toward contrasted,
motivated, desarrollado, and varied music.
A Critical Timeline of Electroacoustic Music
Studios in Brazil
This section presents a timeline of significant topics
related to the origin of electroacoustic music studios
in Brazil, including but not limited to new music
manifestos, studio construction, instrument design,
equipment operation, creation of musical works,
and organization of cultural events such as festivals
and symposia. It is our view that music studios are
interpreted as cultural territories.
Some initial considerations:
1. Most Brazilian composers became aware of
the culture of electroacoustic music com-
position by travelling abroad, exchanging
communication and correspondence with cul-
tural centers, and importing audio equipment
(the professional audio industry in Brazil was
scarce) and other means.
2. After formal and informal training overseas,
composers would return to Brazil, alguno
becoming professors of electroacoustic music
y, más tarde, heads of their universities’ music
technology studios.
3. The institutionalization of electroacoustic
music studios became common in universi-
corbatas, turning them into safe places and cultural
territories (Velloso et al. 2016). This aspect
had a significant impact on the field because
university studios housed many composers
and artistic projects. The history of electro-
acoustic music in Brazil is, por otro lado,
also linked to the development of the DJ scene
of electronic music and the recording industry
(Marke 2017).
4. Finalmente, the military dictatorship was a diffi-
cult period for new music in general, porque
of the repression of freedom of speech and
artistic voices.
Prelude: Laying the Groundwork
1931: Brazilian poet, escritor, and musicologist Mario
de Andrade mentioned for the first time in a Brazilian
publication the existence of the theremin as a new
instrument for musical expression (Neves 1981;
Ribeiro 2015). But he criticized the instrument’s
“fatiguing sonority” (cf. Marke 2017).
1942: Heitor Villa-Lobos founded the Conser-
vatório Nacional de Canto Orfeônico, a school of
music that later, en 1966, was renamed the In-
stituto Villa-Lobos (IVL). En 1967 it became the
first institution to house an electroacoustic music
studio.
1946: German composer Hans Joachim Koell-
reutter (who took Brazilian citizenship in 1948)
published the “Manifesto 1946: Grupo Música
Viva,” a new music manifesto in Portuguese that
encouraged music made with “radioelectric” in-
struments (Mariz 2000). Although he encouraged
his students to use electroacoustic instrumenta-
ción, Koellreutter was not intensely involved with
electronic music production himself. Almost 20
years after writing the manifesto, Koellreutter wrote
his first electroacoustic piece, “Sunyata,” in 1968
(cf. Mamedes 2010).
1956: The first Brazilian acousmatic, musique
concrète work: “Si bemol,” with a duration 1(cid:3)13(cid:3)(cid:3), es
created by Reginaldo Carvalho (cf. silva 2015). El
piece was composed in France at the experimental
studio of ORTF under the supervision of Pierre
Schaeffer, Luc Ferrari, and François Bayle. A pesar de
electroacoustic works were not a major part of
his output, Carvalho’s experience at ORTF was
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Cifra 1. I Semana de
Música de Vanguarda
[Week of Avantgarde
Music, 1961]: advertising
poster (a) and concert
programa (b). (Images:
Redes de Museus do
Estado do Rio de Janeiro,
used under Creative
Commons Attribution 2.0
[CC POR 2.0].)
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significativo, especially when he returned to Rio de
Janeiro at the Conservatório Nacional de Canto
Orfeônico, where he and Antunes proposed the
creation of the first electroacoustic music studio in
Brasil (Lintz Maués 1989; Menezes 2009).
Made in Brazil: First Studios, Instrument Design,
Composition Premieres
1961: The first performance of electronic music
in Brazil. Jocy de Oliveira (2022) writes that her
2-hour tape composition for 18 actors and dancers,
“Apague meu spot light,” premiered at the I Semana
de Música de Vanguarda [First Week of Avantgarde
Music] in Rio de Janeiro. The piece was composed
at the Studio di fonologia musicale di Radio Milano
(Italia), working with Luciano Berio.
I Semana de Música de Vanguarda was organized
by Jocy de Oliveira and Eleazar de Carvalho and
included works by Oliveira, Henri Pousseur, Berio,
y otros (ver figura 1). It was the first time a
Brazilian audience could hear electroacoustic music
performed. Antunes was among the audience, y
he recalled the impact of hearing Stockhausen’s
electronic music live.
1962: After the impact of I Semana de Música
de Vanguarda, Antunes started experimenting with
electronic music. He composed “Valsa Sideral,” a
piece known as the first Brazilian electronic mu-
sic work (cf. Garcia 2012). Antunes knew how to
build and fix simple radios. He started his private
studio with a few tape recorders and some hand-
made electronic instruments, as shown in Figure 2
(Lintz Maués 1989; corroborated by Antunes in an
interview with the authors, 2022).
Ribeiro and Thomasi
97
Cifra 2. Jorge Antunes’s
handmade theremin (a), a
sawtooth generator (b), a
spring reverb unit (C), y
original tapes 1961–1968
(d). (Photos by Jorge
Antunes.)
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After a quick trip to the Darmstädter Ferienkurse,
Rogério Duprat opened a commercial recording
studio called Estúdio Pauta, where he applied
several electroacoustic music techniques to pop
music arrangements.
The first edition of the Festival Música Nova,
organized by Mendes, was held in Santos, São Paulo.
It became one of Brazil’s most important new music
festivals. It still exists today, making contributions
to the development of electroacoustic music.
1963: The manifesto “Música Nova” was written
en 15 Marzo 1963 and signed by Damiano Cozzella,
Rogério and Régis Duprat, Sandino Hohagen, Júlio
Medalla, Mendes, Willy Correia de Oliveira, y
Alexandre Pascoal. It brought a clear statement on
the importance of composition based on “phono-
mechanical and electroacoustics in general” (Mariz
2000).
Mendes wrote what became known as the first
Brazilian “mixed” piece, combining conventional
98
Computer Music Journal
musical performers with electroacoustic means:
“Nascemorre,” for choir and tape.
According to Denise Garcia (2012), Rogério
Duprat and Cozzella wrote the first Brazilian
computer-assisted-composition, “Klavibm II,” for
piano solo, using an IBM 1620 computer from the
University of São Paulo (USP).
1964: A military dictatorship starts in Brazil with
a coup d’état. For the next two decades (1964–1985),
the population faced a dark period with political
harassment, cultural censorship, and violent attacks
on whomever criticized the regime. The dictatorship
killed many, and hundreds more disappeared (IVH
2022). The military coup exerted a deep negative
influence on the electroacoustic music scene. El
regime discharged many professors, of whom some
sought refuge abroad (Garcia 2012).
1966: After the University of Brasilia (UnB) era
dismantled by actions of the military dictatorship,
Reginaldo Carvalho opened a private studio, Estúdio
de Música Experimental. He joined the faculty of the
Conservatório Nacional de Canto Orfeônico (soon
to be renamed Instituto Villa-Lobos) shortly after
este. Canto Orfeônico soon became the first center
to support electroacoustic music activities.
1967: Antunes established the Laboratório de
Arte Integral at IVL in Rio de Janeiro. Antunes
was generous in allowing students to share his
equipo, including his the theremin and sawtooth
generator. But difficulties, such as purchasing tape,
persisted.
Between 1967 y 1968, Antunes started teaching
electroacoustic music at the IVL. The course was
called Introduction to Electronic, Concrete, y
Magnetophonic Music. It was the first formal
electronic music course in Brazil.
1968: The Brazilian Institutional Act No. 5 (AI-5)
was one of the most radical presidential acts ap-
proved by the military dictatorship, bringing severe
consequences for democracy and cultural life. Él
gave unlimited powers to the president at that time,
Emílio Garrastazu Médici, who decided to close the
National Congress. The artistic community suffered
censorship, rights were revoked, and artists faced
imprisonment, torture, and even murder.
IVL. Marlene Fernandes became his successor. Born
in Curitiba like Jocy de Oliveira, Fernandes was a
composer who recently returned from Buenos Aires
after a period of studying at the Instituto Torcuato
Di Tella (Garcia 2012).
Uruguayan composer Conrado Silva moved to
Brasilia and worked as a faculty member at UnB.
Silva began a project to build an electronic studio at
the university, but this was aborted due to a lack of
equipo (Lintz Maués 1989). Finalmente, the military
regime discharged him from the university. He then
moved to São Paulo, where he taught electroacoustic
music courses.
1971: Silva brought one of the first synthesizers
to Brazil, an EMS Synthi A. He created the group
Catharsis, and he composed a number of new works,
such as “Brinquedos I” (1971), “Cor Incurvatum”
(1972), “Ulisses” (1973), and “Celebração para quatro
coros mistos e sintetizador” (1973), using the new
equipo (Kolody 2014).
Pierre Schaeffer visited Brazil as a guest speaker
at the IVL (Leite 2000).
1972: The IVL was taken over by General Jayme
Ribeiro da Graça, who shifted to a severely conser-
vative approach (Garcia 2012).
1973: In an interview for Jornal do Brasil, Swiss
composer Ernest Widmer commented on the spartan
facilities in the studios, especially at the Federal Uni-
versity of Bahia (UFBA), where he was a professor:
“We have no recorders, no synthesizer, no portable
electric studio, so to speak” (cf. Lintz Maués 1989).
Antunes returned to Brazil in 1973, joining
the staff of the UnB, where he established an
Electroacoustic Music Laboratory (Leite 2000).
1974: In São Paulo, Silva started a school of music
and studio called Travessia, later known as Travessia
Oficina de Música (Souza 2014). He brought all his
equipment and helped young composers through
the Núcleo Música Nova, a group dedicated to
contemporary music (Lintz Maués 1989). According
to Anna Maria Kieffer (2014), Silva “at the time
owned a Revox recorder, an AKS synthesizer [EMS
Synthi VCS 3], a small mixer, microphones, and two
stereo speakers.”
1975: Guido Stolfi and Celso Oliveira built the
1969: Antunes moved abroad in the aftermath
of AI-5. This eventually led to his dismissal from
first Brazilian digitally controlled synthesizer at
the Polytechnic School of the University of São
Ribeiro and Thomasi
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Cifra 3. Vânia Dantas
Leite in Leo Kupper’s
studio in Belgium.
(Photo by Daniel Puig.
Fuente: Personal archive of
Vania Dantas Letite.
Public domain.)
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Paulo (Palombini 2000), called the Modular Sound
Synthesis System.
Luiz Roberto Oliveira gave a workshop on syn-
thesizers and electronic music at the São Paulo
Art Museum, sponsored by the São Paulo State
Cultura, Science and Technology Secretariat (Marke
2017).
1976: Composer Vânia Dantas Leite (ver figura
3) developed her works with a Synthi AKS that she
brought from Europe. In a collaborative atmosphere,
many composers in Rio de Janeiro, such as Rodolfo
Caesar, worked at Leite’s private studio.
At the Estúdio Travessia, now part of the Facul-
dade Santa Marcelina in São Paulo, Silva supported
several young composers by lending them equip-
mento. Por ejemplo, Rodolfo Coelho de Souza wrote
the piece “Durações” (1976), and Wilson Sukorski
composed “MEL V” (1979–1984) using Silva’s tape
recorders (Souza 2014; corroborated by Sukorski in
an interview with the authors in 2022).
Returning to Brazil from Europe, Caesar said
that Estúdio Travessia was the only place available
to work in São Paulo. In Rio de Janeiro, Caesar
presented an electroacoustic music series working
at Rádio Globo, which owned an Electro-Compo,
an ARP Odyssey synthesizer, and a few reel-to-reel
tape recorders (Caesar in personal communication
with the authors, 2022).
100
Computer Music Journal
Expansion and Dissemination: Studios
and Festivals Countrywide
1977: Michael Philippot invited Silva to start a new
experimental electroacoustic music studio at São
Paulo State University. It was the first institutional
studio of its kind in Brazil (Lintz Maués 1989;
Kieffer 2014; also corroborated by Sukorski in an
interview with the authors in 2022). The interview
with Sukorski went on to enumerate some of the
equipment available, including three tape recorders
(two Revox A700 and one B77), a TEAC 4-channel
recorder, an ARP 2600 synthesizer, Conrado’s Synthi
AKS synthesizer, a mixer, reverbs, filters, y un
variety of microphones.
Rio de Janeiro was the site of the First Inter-
national Festival of Electroacoustic Music, tomando
place 5–7 July in Lage Park. It was the first festival
of pure electroacoustic music in Brazil, promoted
by INECOM and produced by Caesar and Sérgio and
Delfina Araújo (Mannis 1994).
1978: The Seventh Latin American Course on
Contemporary Music (CLAMC) in São João del-Rei,
Minas Gerais. A través de los años, CLAMC was held
15 times in different cities across Latin America
(LAM 2022). They were a series of workshop courses
committed to new music composers and performers.
The first was in 1971 in Cerro del Toro, Uruguay
(Paraskevaídis 2014). Silva was among the organizers
of the Brazilian CLAMCs, held in 1978, 1979, 1982,
1984, y 1989. The seventh CLAMC featured
electroacoustic workshops led by, among others,
silva, Leite, and Christian Clozier, and workshops
on computer musical applications held by Vicente
Asuar and Philippot. Two small electroacoustic
studios were available.
Composer Cláudio Santoro, an influential com-
poser in the local cultural scene, returned to Brazil
from Europe, to work at UnB. He continued work-
ing on a few electroacoustic music projects in his
private studio (Lintz Maués 1989).
1979: IVL becomes part of the Federal University
of the State of Rio de Janeiro, UNI-RIO (Leite 2000).
The eighth CLAMC took place in São João del-Rei,
Minas Gerais, featuring electroacoustic workshops
by Micheline Coulombe Saint-Marcoux and Silva.
Equipment made available was: two synthesizers,
four tape recorders, two mixers, filters, and velocity
modulators (LAM 2022).
1980: The ninth CLAMC took place in Itapira,
São Paulo, featuring electroacoustic workshops
by Silva and James Montgomery. Concurrently,
CLAMC held the First Brazilian Symposium on
Digital Music. The available equipment included
a synthesizer, four tape recorders, two mixers,
as well as filters, reverberators, a velocity mod-
ulator, an oscilloscope, and frequency metersbrk
(LAM 2022).
1981: In Rio de Janeiro Caesar and Tim Rescala
founded the Estúdio da Glória for electronic music.
It was a private music studio where composers
such as Caesar, Leite, Rescala, and many other
trabajó (Menezes 2009; Mamedes 2010; Garcia
2012). Rescala and Caesar pooled their equipment
to found the Estúdio da Glória. This include several
tape recorders (Revox A-77 and B-77, Nagra, Akai
4000 Ds, and a TEAC four-track machine), un
EMS monophonic filter, several synthesizers (a
Roland modular analog system, a Yamaha DX-
7) and samplers (a Casio FZ 10-M and a Roland
S-330), as well as a Macintosh SE 30 (Rescala in
personal communication with the authors, 2022).
The Estúdio da Glória became also a commercial
studio. Besides many experimental projects, ellos
were also active in commercial productions that
helped them earn a living.
Leite joined the Instituto Villa-Lobos’ faculty staff
to teach electroacoustic music composition (Leite
2000).
1982: The eleventh CLAMC took place in Uber-
lândia, Minas Gerais, featuring electroacoustic
music workshops by Coriún Aharonián, José Maria
Neves, and Silva. Two electroacoustic music stu-
dios were available with one synthesizer, six tape
recorders, two mixers, a graphic equalizer, a rever-
berator, a velocity modulator, and a frequency meter
(LAM 2022).
1983: Silva organized the First São Paulo Electro-
acoustic Music Meeting at the Mário de Andrade
Library in São Paulo (Mannis 1994).
1984: The twelfth CLAMC took place in Tatuí,
São Paulo, featuring electroacoustic music work-
shops by Philippe Ménard and Silva, using a small
electroacoustic music studio (LAM 2022).
Ribeiro and Thomasi
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Lab Era: Electroacoustic Music Studios
within Universities
1985: The military dictatorship ended, but a new
constitution was not approved until 1988.
Silva composed “Grande Círculo Mágico Ritual,"
a work for 20 synthesizers. The premiere took
place at the 18th São Paulo Art Biennial. Silva also
facilitated John Cage’s travels to Brazil.
silva, Lucas Shirata (former member of Solaris,
an electronic music trio), and Jorge Poulsen (un
electronic engineer) began to develop Synthesis, a
music technology group. Their main goal was to
spread music technology. They presented the first
MIDI course in Brazil (Marke 2017).
At UnB, Aluizio Arcela created the Spectral
Processing Laboratory in the Computer Science
Departamento.
1986: Composer Eduardo Bértola inaugurated the
Laboratório de Composição com Meios Eletroacústi-
cos at Federal University of Minas Gerais (UFMG). Él
became part of the Centro de Pesquisas em Música
Contemporânea [Contemporary Music Research
Center, CPMC] originally established by Koellreut-
ter. Bértola then became its director (Palombini
2021).
Moyses Lopes Filho and Eduardo Miranda es-
tablished a private laboratory for computer music
research in Porto Alegre, Rio Grande do Sul, called
Tupiniqarte. They owned a Saema organ, a Sinclair
ZX-81, an MSX computer, as well as an external
MIDI interface, built by a local engineer, modeled
on the Yamaha SFG-05. Filho said “don’t even think
of importing: it was either do-it-yourself or copy
from abroad” (Palombini 2000).
1987: Celso Aguiar, Raimundo Cavalcante, y
Jamary Oliveira developed an experimental digi-
tal synthesizer, the MS-80, at UFBA, in Salvador
(Palombini 2000; Aguiar 1989).
1988: Mendes invited Silva to organize a new
edition of the Festival Música Nova. His partici-
pation drew particular attention to the presence of
electroacoustic music at the festival.
1989: The 15th CLAMC (the last held in Brazil)
took place in the city of Mendes, Río de Janeiro,
featuring electroacoustic music workshops by
Wilhelm Zobl and Silva. Musical software for
IBM PC and Macintosh with Victor Fuks was
usado. A small analog/digital electroacoustic mu-
sic studio was available with a microcomputer
(LAM 2022).
The Coordenação de Documentação de Música
Contemporânea (CDMC-Brazil) was inaugurated
en 1 September at the University of Campinas
(Unicamp). This project started from an agreement
signed between Unicamp and the Centre de Docu-
mentation de la Musique Contemporaine (CDMC)
in Paris. Composer José Augusto Mannis was the
first director of the CDMC-Brazil. Its main goal was
to create a media collection that included scores,
compact discs, vinyl records, books, cassette tapes,
and other materials specializing in contemporary
Brazilian and international new music. Today the
CDMC has an essential role in the diffusion and
preservation of electroacoustic music in Brazil.
1990: Wilson de Pádua Paula Filho created the
Laboratory for Analysis and Synthesis of Image and
Sound at UFMG (Palombini 2000).
1991: In São Paulo, composer Sílvio Ferraz started
working at Flo Menezes’s private studio, Studio
PANaroma of Electroacoustic Music (Ferraz in
personal communication with the authors, 2022).
En ese tiempo, it was a studio in Menezes’s apartment,
but later it moved to São Paulo State University and
became public.
1992: In Belo Horizonte, Minas Gerais, the Music
and Computer Laboratory at UFMG was recently
created under the direction of professors Gilberto
Carvalho and Eduardo Campolina. This laboratory
joined forces with the already-existing Composition
Laboratory with Electroacoustic Media and shared
their equipment (Palombini 2021).
The Sound Languages Laboratory, at Pontifical
Catholic University of São Paulo, was opened that
same year. It was directed by Lúcia Santaella, dónde
she had samplers, a sequencer and, en 1994, el
IRCAM and Max software (noted by Ferraz in
personal communication with the authors, 2022).
The Laboratório de Música Eletroacústica, Au-
diovisual e Experimental (Laboratory of Music
Creation, Investigación, y rendimiento, LIC-M3) era
opened at UNIRIO, under the direction of Leite
(2000), with support of the Research Support Foun-
dation of the State of Rio de Janeiro.
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1993: According to Eloy Fritsch (in personal com-
munication with the authors, 2022), the Artificial
Intelligence Research Group at Federal University
of Rio Grande do Sul (UFRGS) created a laboratory
for musical computing using the software Max.
Maurício Loureiro (2019) recalled that, with Mi-
randa, Aluisio Arcela, and de Pádua Paula Filho, ellos
together formed the Brazilian Group for Computer
Music Research.
1994: Menezes relocated the PANaroma Studio
to the public sphere of universities. According to
Menezes (2009, 2022), PANaroma was modeled
on the German Studio für elektronische Musik in
Cologne. Multiple attempts to find a permanent
home were needed for the studio. The first was at
USP, then another at Faculdade Santa Marcelina,
but neither lasted. Finalmente, PANaroma settled at São
Paulo State University (UNESP). The construction
of PANaroma took almost two decades, and was not
finished until 2011, with financial support from the
São Paulo State Research Support Foundation. El
PANaroma Studio sponsored two events dedicated
to electroacoustic music: the International Electro-
acoustic Music Contest of São Paulo, established
1995, and the International Biennial for Electro-
acoustic Music of São Paulo, starting one year later.
PANaroma’s equipment includes, beyond comput-
ers and standard audio gear, a KYMA workstation
and surround sound systems with Genelec, Meyer,
and Mackie monitors (cf. Menezes 2022 for further
details).
There is a conflict as to who first inaugurated a
studio at UNESP. silva, en 1977, also started a studio
project at the Faculdade Santa Marcelina and later
at UNESP. We understand, sin embargo, that they were
independent projects, since we have no information
on whether Silva’s studio endured. Mannis (1994)
mentioned a new studio at USP under the direction
of Marcos Branda Lacerda, “partially financed by
an agreement with Germany.” Later, it became
known as Laboratory of Musical Acoustics and
Informatics. It is not clear if this has any connection
with Menezes’s project.
Foundation of the Sociedade Brasileira de Música
Eletroacústica [Brazilian Electroacoustic Music
Sociedad, SBME], was established with Antunes as
main director, and included numerous distinguished
composers such as Silva, Coelho de Souza, Jocy de
Oliveira, Reginaldo Carvalho, and many more. El
SBME would later, en 2010, release an album of five
discs of Brazilian electroacoustic music.
Loureiro organized the First Brazilian Symposium
of Computer and Music as part of the 14th Winter
Festival at UFMG. He is now director of the CPMC,
and the department facilities expanded to create
the Integrated Music and Technology Laboratories
with four different labs: Composition, Synthesis,
and Sound Processing; Performance with Interactive
Sistemas; Recording and Sound Reinforcement; y
Theoretical Subjects.
Ferraz recalled (in a communication with the
autores, 2022) that he, together with Fernando
Iazzetta and Guerra, started a study group in São
Paulo using the software Max and Patchwork.
1995: Because of the difficult economic situa-
tion in Brazil (cf. Dal Farra 1994), Miranda (1995)
published an urgent appeal to the international com-
munity in the Computer Music Journal: “I wonder if
other advanced and wealthy institutions that are re-
newing their equipment would be willing to donate
what is being replaced to us—provided that they still
trabajar. We also welcome updated equipment from
companies that constantly release new products. Nosotros
do not care, to be honest, about latest models. Nosotros
care if the equipment works.”
1998: Miranda released Chaosynth 1.0 a través de
the British company Nyr Sound. This was a granular
synthesis software controlled by cellular automata.
Aphex Twin and Brian Eno were among the users
(Marke 2017).
1999: The Center for Computational and Elec-
tronic Music (CME) in Porto Alegre, Rio Grande
do Sul, was constructed. It comprised three lab-
oratories: MIDILAB, AudioLab, and LME, y
was part of the Music Department of UFRGS
(ver figura 4). Much of the equipment came
from Fritsch’s private collection, which he had
started collecting in the 1980s: Korg MS-10, Atari
computer, Roland System-700, Crumar Multi-
man/Orchestrator –, Arbon keyboard, así como
cassette and DAT recorders, Pro Tools and Steinberg
Nuendo recording software, Korg DW-8000, Korg
Polysix, Korg Delta, Ensoniq MR76, and a Roland
VS-1680 digital mixer. The official inauguration
Ribeiro and Thomasi
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Cifra 4. Eloy Fritsch in the
Electronic Music Center at
the Arts Institute of the
Federal University of Rio
Grande do Sul (UFRGS),
Puede 2002. (Photo courtesy
of Eloy Fritsch. CME
Image Files.)
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was on 15 Enero 2003. (Further details available at
http://www.ufrgs.br/musicaeletronica)
2000 to present: From the turn of the century we
have seen a substantial increase in music studios in
cities besides Rio de Janeiro and São Paulo, especially
in universities. According to Fritsch (interview with
authors in 2022) CME began a new project in
2005 called the UFRGS Loudspeaker Orchestra.
In the state of Paraná, three laboratories were
opened: en 2006 the Sound Research and Production
Laboratory at the State University of Maringá;
en 2012 the Laboratório de Música, Sonologia e
Áudio and the Laboratório de Linguagens Sonoras
e Música Eletroacústica. The latter two are at
the State University of Paraná in Curitiba. Este
list probably does not include all electroacoustic
music studios in Brazil, especially after the 1990s.
We should explicitly note the Núcleo Amazônico
de Pesquisa Musical at the Federal University of
Acre; the GenosLab at UFBA; the Laboratório de
Pesquisa Sonora at Federal University of Goiás;
the Laboratório de Música e Tecnologia at the
Federal University of Rio de Janeiro, Laboratório de
Composição at the Federal University of Pelotas;
the Laboratório de Acústica e Artes Sonoras and the
Núcleo Interdisciplinar de Comunicação Sonora at
Unicamp; among many others (Ribeiro 2018).
Final Considerations
Analyzing electroacoustic music through a studio
perspective is a way to understand this space as
cultural territory, o, in the words of Coelho de Souza
104
Computer Music Journal
(2014), as a “fertile and effervescent environment.”
The studio is not just a technical space with audio
gear but a center for people to exchange knowledge
and experience with machines. Cipriani et al. (2004)
share a similar experience: “Each time we have
worked together as a group, we have learned much
more than when working individually.” Sharing
makes a substantial impact on the process of making
music through the collaborative compositional
experiencia, manipulation of equipment, y el
design of space.
A complete timeline of electroacoustic music
studios is never ending, but we highlight four
aspectos:
1. Most writing about electroacoustic music is
done by composers, such as Garcia, Guerra, or Leite,
to name but a very few. En nuestra opinión, it should include
more musicologists, beyond Carlos Palombini, José
Alexandre dos Santos Ribeiro, and Vasco Mariz.
Electroacoustic music studies in Brazil are still
young and lack formal support from academia,
institutions, and government. Garcia (2012) wrote:
Electroacoustic music started late in Brazil, either
because of the lack of laboratories and equipment,
or because of the lack of interest from radio stations
and music schools.
The responsibility of preserving history fell into
the hands of composers, and musicological achieve-
ments in the field are slowly professionalizing.
As Aylton Escobar said (in an interview with the
autores, 2022), “electroacoustic music in Latin
America is still a child, an infant.”
2. Homemade culture was very much present
in Brazil’s development of electroacoustic music:
shared private studios in apartments, an overall
generosity with equipment sharing, handmade
instruments, gambiarra, and the “aesthetic of
precariousness.” We cannot state this culture is
exclusive to Brazil. In the 1960s, Morton Subotnick’s
studio in New York was a shared space, even though
it was part of New York University (Gluck 2012).
Menezes observed that in Brazil “institutions blend
with personalities.” The private and the public were
blurred in our history. Menezes (2014, pag. 14) regrets
that “when a key figure, for a certain institution,
leaves, the institution usually ends up not preserving
the achievements and guidelines of its founder.”
Studios come up as fast as they go. The difficulty
of maintaining these spaces has been a constant
struggle.
3. During the 1970s the military dictatorship
brought conflicts with democracy, human rights,
and import restrictions. Because the military
brought computer technology from abroad, cómo-
alguna vez, much progress occurred in the field, y
electroacoustic music has benefited from this over-
all growth of technology (Garcia 2012). At the end of
the dictatorship a law was instituted that required
computers to be manufactured in Brazil, and several
companies emerged, copying American systems
like those of Microsoft and Apple. One of those
companies, UNITRON, made good clones of the
Apple II (Sukorski in interview with the authors,
2022).
4. Like other countries, gender issues have had
an impact on the history of electroacoustic music
in Brazil. Women composers like Jocy de Oliveira,
Fernandes, and Leite have never received the same
acclaims as the “barons” of concert music Camargo
Guarnieri, Villa-Lobos, and Koellreutter. “Apague
meu Spot Light” was the first performance of elec-
tronic music in Brazil, but it was largely “ignored
until today by most Brazilians electroacoustic com-
posers” (Oliveira 2014). Not much about composer
Fernandes has survived, except for what is known
through the effort of Iazzetta (2020). Leite’s legacy
has survived mostly through her accomplishments
inside universities, similarly to what is happening to
Garcia at Unicamp. Most composers in Brazil have
been white men, which is unfortunate. En nuestra opinión,
a country with so much historical miscegenation
needs to recognize gender diversity.
Hoy, Brazil still has difficulties with the growth
of electroacoustic music projects. In the last four
years of federal government under President Jair
Bolsonaro, much of the cruelty of the dictatorship
(harking back to the ideology of the AI-5) has re-
turned, especially the dismantling of the Ministry
of Culture. Despite these setbacks, cultural insti-
tutions remain strong, and universities continue as
important shelters. The history of electroacoustic
music in Brazil is also a history of resistance. Nosotros
Ribeiro and Thomasi
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hope that this timeline contributes to the growth of
electroacoustic music scene in Latin America.
Expresiones de gratitud
The first author is grateful for support from the
Brazilian National Council for Scientific and Tech-
nological Development (CNPq) Universal Project
No. 409750/2021-2. The second author appreciates
the support granted by a CNPq Fellowship, Proyecto
No. 150154/2022-4.
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