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Mesías Maiguashca (born 24 December 1938 in Quito) is an Ecuadorian composer.

He is an advocate of the New Music, especially of electronic music in the milieu of Karlheinz Stockhausen.

Maiguashca studied music at the Conservatorio Nacional de Quito, at the Eastman School of Music in Rochester, NY (1958–65), with Alberto Ginastera at the Instituto di Tella in Buenos Aires, and at the Hochschule für Musik in Cologne, where he studied with Karlheinz Stockhausen. In 1965–66 he returned to Quito to teach at the National Conservatory, but then moved back to Germany to attend the Internationale Ferienkurse für Neue Musik in Darmstadt, and the Fourth Cologne Courses for New Music in 1966–67 (Béhague 2001; Stockhausen 1971, 201–202).

Maiguashca worked closely with Stockhausen in the Electronic Music Studio of the Westdeutscher Rundfunk in Cologne from 1968 to 1972, and joined Stockhausen's ensemble for performances at the German Pavilion at Expo 70 in Osaka. He also prepared the recording of the collective composition Ensemble, organized by Stockhausen for the Darmstadt Courses in 1967. In 1971 he became a founding member of the Oeldorf composers' and performers' group, and has been invited to return to the Cologne Studio for Electronic Music, as well as to work at the Centre Européen pour la Recherche Musicale in Metz, at IRCAM in Paris, and at the Zentrum für Kunst und Medientechnologie in Karlsruhe (Béhague 2001). He has taught in Metz, Stuttgart, Basel, Quito, and Győr, amongst other places. From 1990 to 2004 he was Professor of Electronic Music at the Musikhochschule of Freiburg im Breisgau.


  • Béhague, Gerard. 2001. "Maiguashca, Mesías."The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers; New York: Grove's Dictionaries of Music.
  • Fürst-Heidtmann, Monika. 1993. "Mesias Maiguashca." In Komponisten der Gegenwart: Loseblatt-Lexikon—Nachlieferung 3, edited by Hanns-Werner Heister and Walter-Wolfgang Sparrer. Munich: Edition Text+Kritik.
  • Kostakeva, Maria. 2001. "Die wandelnde Welt oder die Zeitkristalle? "Die Feinde" von Mesias Maiguashca. Musiktheater nach der Erzählung "Das geheime Wunder" von J.-L. Borges." In Das Musiktheater in den audiovisuellen Medien: "… ersichtlich gewordene Taten der Musik", ed. Peter Csobádi, Gernot Gruber, and Jürgen Kühnel, 526–34. Anif/Salzburg: Mueller-Speiser. ISBN 3851450744
  • Maiguashca, Mesias. 1975. "Information zu Übungen für Violine, Klarinette und Violoncello." Feedback Papers 9 (Summer): 228–32.
  • Maiguashca, Mesias. 1985. "Zu FMELODIES" Neuland Jahrbuch 5:288–96.
  • Maiguashca, Mesias. 1991. "Spectre—harmonie—mélodie—timbre." In Le timbre, métaphore pour la composition, edited by Jean-Baptiste Barrière, Catherine Delaruelle, and Anne Grange, translated by Esther Starkier and Alain Galliari, 402–11. Paris: Bourgois.
  • Montague, Stephen. 1991. "Mesias Maiguashca." Contemporary Music Review 6, no. 1 (New Instruments for the Performance of Electronic Music/Live Electronics): 197–203.
  • Müller, Hermann-Christoph. 1999. "Schlafende Schönheit: Musiktheaterstücke von Furukawa, Viñao und Maiguashca im ZKM Karlsruhe." MusikTexte: Zeitschrift für Neue Musik. no. 80 (August): 33–37.
  • Stockhausen, Karlheinz. 1971. Texte zur Musik 3 (1963–1970). Edited by Dieter Schnebel. Cologne: Verlag M. DuMont Schauberg.

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