This is a real-time composed work that has a different realization each time that the Max/Msp patch is launched. It is an open-form work algorithmically created.

This piece is created by 32 Multimodal Multiple Cognitive Agents that have the capacity of creating music in competitive or collaborative modes (that´s the way the work is called transcognition, at the same time, the environment changes in a constant evolving relation). The work begins with all the agents in a competitive mode. Each Agent creates their own music trying to generate the most interesting music to get the audience focused on its activity. Periodically, they check if what they do is really the most significant, if they decide that not, then, they become collaborative (they have the intelligence to measure it, based on the Information Theory). Slowly, all the agents become collaborative.    Once they become collaborative they cannot return to competitive mode.

When they are in the collaborative mode, they try to predict what music will do the rest of the agents based on the database of the past events of the score. So they imitate the real outcome of the work (they play the notes that have happened with more probability).

This work is explained in a paper  (Using a Probability Distribution Follower in MAS Works) that was presented during the KEAMSAC 2019 Conference:

This paper can be downloaded at:


Three Chants for Computer

Three Chants for Computer was selected and premiered in the Call for Works of the SID Conference (Sound, Images, and Data) that took place in the New York University Steinhardt in July 2015. In 2017 Spectropol Records included this work in a selection of electroacoustic works.

This work experiments with parametric morphing, based on the parametric interdefinitions. This work was finished in March 2014.
The parametric interdefinitions are based on the idea that a parameter can be interdefined by another. An example from everyday life is the interdefinition of distances and the time it takes us to travel them. This idea is specially collected in the parametric music through multiple materials that depend on the parametric interdefinitions.

This work is explained in more detail in the paper:

Intrasensorial Synesthesia in Musical Composition

For Rachel Corrie

I start composing the work in 2003. The work is dedicated to Rachel Corrie. She died a few days before I began the work. After a long process of composition, the work was completed in 2006. In March 2008,  the tuba part was recorded at LIEM and the studio version production was completed. Finally, the work was premiered at Reina Sofía Museum  in July 2009.

For Rachel Corrie recording

Jesus Jara, to whom the work is dedicated, played the tuba at the recording sessions. The work is an interpretation of electronics like an extended technique. In this sense, follows works (Ashley, Reich) that used feedback as a compositional element. Electronic media is used in a different way it was designed for.

The electronic part has been generated by morphing with resynthesis techniques using Phase Vocoding with Csound. The envelopes, used to generate harmonic interferences with Phase Vocoding, are used as a control signal to shape the evolution of various tuba performance techniques.