Abstract
AbstractDuring the 1950s and ’60s, many composers began exploring the possibilities provided by commercially available magnetic tape recording and electronically produced sound. In Latin America, the most successful early electroacoustic studio was hosted at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM), part of the Torcuato Di Tella Institute in Buenos Aires, Argentina. This article chronicles the eight years of existence of CLAEM's Laboratorio de música electrónica (1964–1971), and its role in the training of composers hailing from Argentina, Bolivia, Brazil, Colombia, Costa Rica, Chile, Ecuador, Guatemala, Mexico, Peru, Puerto Rico, Uruguay, and the United States. This historical account of pioneering Latin American electroacoustic music provides insight into the aesthetic and technical developments that earned the laboratory at CLAEM a place in the regional and transnational world of contemporary music making and demonstrates the crucial role of locality in the adoption, consumption, and rearticulation of international musical models.
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