Interactive real-time work  For violin, live electronics, 64 cognitive agents, and public composition in real-time by the attending public to the event via a web application.

Transcognition II (2021)

For improvised accordion,  and Multiple cognitive agents. Premiered by Manca Dornik at the 2021 Evo Festival

Transmetric variations (2020)

Fixed Acousmatic work for two channels. Premiered at “La hora acusmática” festival from Cordoba Argentine

Transcentrality (2019)

For solo Piano

Collective embodiment (2019)

For saxophone, cognitive agent, and live electronics.

Transcognition (2018)

For computer.

Premiered at the ACMC 2019 Conference in Melbourne.

Collaborametrum (2018)

Premiered at Sound Kitchen Festival 2022 in Calgary. Machine learning-driven collaborative musical game, for two mobile musicians, IoT devices, algorithm real-time score generation, and notation system, and live electronics

Public Music (2017)

Interactive, collaborative, and algorithmic music for public participation, mobile ensemble, and network equipment. Premiered in 2017 in Madrid at the CNT, Tirso de Molina Local.

Horror Vacui. (2016-2017).

For two mobile singers, real-time notation system, sensors,  and live electronics. Premiered in Sankt Pölten (Austria) in the Audio Mostly 2022 conference)

Homo Homini Lupus. (2014 -2016 ).

For Stereo digital sound file made with Max/Msp and Csound. This work was selected and premiered at the 2017 New York City Electroacoustic Music Festival.

Three Chants for Computer. (2007 – 2014).

For stereo digital sound file. 11 minutes long. Three Chants for Computer was selected and premiered in the call for works of the SID 2015 Conference (Sound, Images, and Data) that took place in the New York University Steinhardt in July 2015.

Cognitive dissonance (2013).

For twelve channels and space projection, specially created for the auditory 400 of de MNCARS. Work for a set of Max/Msp original Patches. 12 minutes long. Premiered on December 2014 in the II INTERNATIONAL CONFERENCE SOUND AND AUDIOVISUAL SPACES: SENSORIAL EXPERIMENTATION AND ACTIVE LISTENING. JIEM 2014 – 20th COMPUTER AND ELECTRONIC MUSIC, as awarded in the call for works.

This work was also programmed in the 2016 New York City Electroacoustic Music Festival.

There is also a standard stereo version you can find on this website.

Parametric formalizations Studies (2007-2014).

For instrumental ensemble, 2 vln, vla, vcl, cb, perc, pno.
Work dedicated to Lua in memoriam. The work was composed between February 2007 and October 2011. 15 minutes long.

Sound Stains performance version (2010).

For public improvisation and live electronics ( Max / Msp Patch). It was premiered on September 2015 in the ” II Encuentro de raíces nómadas”

For Rachel Corrie (2003-2006).

For unamplified tuba and digital tape.
Released by Jesus Jara at JIEM at the Reina Sofia Museum in June 2009. Work dedicated to Jesus Jara. The work was composed between 2003 and 2006. 12 minutes long.

Parametric modulations studies (2001-2004).

For clarinet, cello, and percussion. Written between 2001 and 2004. Premiered at the SMASH festival in October 2009 by the workshop of contemporary music performance directed by Javier Castro.

The performers of the work were Miguel Repiso clarinet, Lucia Peña cello, Pablo Martin, and Oscar Reyes percussion.

This work was published in the Quodlibet journal as separata in October 2004, at number 30. Duration 7 minutes.

Isostasia (2003).

For violin and piano. Approximate duration: 10 minutes long. Dedicated to Javier Castro and Miguel Hernandez. Composed in 2003.

Parametric neutralization studies (2001).

For Orchestra 4,1,4,0 2,3,3,0. harp, pno, 3perc, timp, 12,10,8,6.
This work was composed between December 1999 and April 2001. premiered in January 2003 in Palma de Mallorca in Encontres Festival. The premiere was directed by Daniel Tosi. Approximate 11 min long.

Sound stains (2001).

Openwork for live electronics and/ or scenic space.
This work has several versions. Two digital tapes, one from 2001, when it was created, and a shorter version made in 2007 using the same materials.

Several versions for performance. The main version is for four-loop continuous sources and pictorial space on several paintings by Miguel Rubio (who proposed to me the creation of this assembly).

In 2011 a new version was made that allows public participation in both paintings and with a live-electronic system. This creative-participatory performance was designed by Miguel Rubio.

Perhaps one of Busevin´s Works that has reached more diffusion.
The first public hearing took place at the ACA Foundation on June 21, 2002.

Squashed fly on the tablecloth (1996 -1999).

For mixed choir on texts by J.P. Sartre.
Composed between April 96 and July 99. Not premiered. Duration 5 minutes. Dedicated to Jean-Paul Sartre.

The return of the rebel man (1999).

For string sextet: vl., 2vla., Vcl., 2CB.
Work composed between November 98 and November 1999 and dedicated to José Luis de Delás. Duration 12.

Sounds for occupying impossible spaces (1998).

For electronics.
Made in the author’s personal system. Composed between November 1996 and January 1998. Premiered at the ACA Foundation on 21 June 2002. Duration 19:30.

The prison has the name of death (1998).

For Quintet (Fl., Cl., Perc., Vla., Vcl.).
Dedicated to Henry Mur, a total resister who died in prison in Zaragoza. Composed between November 1997 and September 1998. Duration 12 minutes.

The Sisyphus´ regret (1997).

For clarinet quartet and ensemble. 2 perc., Harp, 2 pnos, vcl, cb.
Composed between June 1996 and November 1997. 15 minutes long. Dedicated to Albert Camus.

Endgame (1996).

For solo piano.
Premiered by Javier Castro on May 20, 2000, in the Auditorium “Los Basilios” in the Music School of Alcalá de Henares. Composed between July and November 1996. Duration 2:15.