1. Introduction
Musical education in Peru has significantly expanded its aims and scope over the past several years. The establishment of new academic programmes in music at the university level (PUCP, UPC, USIL, etc.), along with the attempt to transform the Conservatorio Nacional de Música into a university (Congreso de la República del Perú. Ley Nº 30597, 2017), are just a few examples of a national trend toward integrating music schools into the broader higher education framework. This shift reflects a move away from viewing music solely as a technical, hands-on training or trade and towards recognising it as a vital component of academic and cultural development. However positive these initiatives may seem, they also face challenges, particularly in introducing approaches that diverge from established educational traditions. Changing the nature of musical education in the country involves engaging with a community that has historically maintained conservative traditions and has had comparatively limited opportunities for exposure to broader conceptual and philosophical debates over the twentieth century. This is particularly true in the realm of sound art experimentation and the use of technology as both a conceptual and artistic tool.
Due to these changes, music education in Peru is now deeply interconnected with the broader landscape of higher education in the country. For this reason, understanding the legal and political implications of this case is crucial to comprehending the shortcomings of music education in Peru in general, and in relation to electronic music in particular, as all educational processes are ultimately shaped by political practices (Meyerhoff, Reference Meyerhoff2019), particularly those that construct and reinforce social narratives.
While many national public art schools are transitioning into universities (Congreso de la República del Perú 2017; 2024a; 2024b Ley N° 30597, Ley N° 31997, Ley Nº 32074, etc.), some observers, such as De Alwis (Reference De Alwis2016), have characterised Peru’s educational system as ‘one of the most anemic in Latin America’. Despite the Universidad Nacional Mayor de San Marcos being the oldest university in the Americas, founded in 1551, no Peruvian university currently ranks within the top 300 worldwide in the QS World University Rankings (QS, 2025), and in other global rankings Peruvian institutions appear even further down or are absent altogether, as in the Shanghai Ranking (ARWU).
The establishment of the Superintendency of Higher Education (SUNEDU) in 2014 (Congreso de la República del Perú 2014 Ley Universitaria Nº 30220) sought to address a ‘bubble culture’ that remained isolated from the global landscape and operated with minimal external oversight. However, some of the reforms introduced by SUNEDU were later challenged by a counter-reform in 2022 aimed at undermining its autonomy (Congreso de la República del Perú 2022 Ley Nº 35120). This brief interval between reforms and counter-reforms has been interpreted by some analysts as indicative of limited long-term planning and political instability. This, in turn, suggests that the government may play a comparatively limited role in shaping the relationship between politics and education in the country (Cuenca Reference Cuenca2024).
Given the contentious nature of higher education in Peru and its failure to adopt an inclusive, comprehensive model that embraces global advancements in knowledge (Cuenca & Reategui Reference Cuenca and Reategui2016, Bonifaz & Stuart Reference Bonifaz and Stuart2020, Tello & Flores Reference Tello and Flores2021, Murguía Reference Murguía2022, Chong et al., Reference Chong, Lavado and Yamada2023), it is unsurprising that the academic establishment has shown limited interest in the conceptual dimensions of music technology’s evolution – both theoretical and practical. I have explored the specific challenges associated with the limited availability of spaces for developing technology-based music in several publications since 2008, and in greater detail in my doctoral dissertation (López-Ramírez-Gastón, Reference Bonifaz and Stuart2020), where I analyse how certain ideological nationalistic narratives have influenced the underdevelopment of electroacoustic music – understood here as academically oriented electronic sound practices – in the country. In an effort to bridge this communication gap, the dissertation was published in Peru in 2022 by the Universidad Nacional de Música (UNM).
The enactment of Law Nº 30597 in 2017, which marked the beginning of the efforts to transform the Conservatorio Nacional de Música into the UNM, coincided with my appointment as a lecturer and my involvement in establishing the Laboratorio de Música Electroacústica y Arte Sonoro. That same year, I attended the Electroacoustic Music Studies Network conference (EMS17) in Nagoya, Japan, where I presented the general situation as I encountered it upon my arrival, including the condition of the Taller de Música Electroacústica, which had just been renovated after existing in a very precarious state. In my presentation I declared, at the time, that it was ‘difficult to speculate about the outcome’ of those initial efforts and that I was going to be reporting on the progress obtained and also confronting and analysing the reactions and perceptions produced on the students by the Taller de Música Electroacústica, hoping to revert what I saw as a negative tendency (López-Ramírez-Gastón Reference López-Ramírez-Gastón2017). In the following years, I have published multiple academic articles documenting the ongoing situation and the strategies employed to implement an education focused on contemporary technology-based music and sound arts. Seven years later, the present text serves as the final chapter of that ongoing effort.
While the situation in other countries is not the primary focus of this paper, I must acknowledge that some of the issues I have encountered resonate with similar challenges in other Latin American nations. For example, the following statement by Perez-Valero regarding the Venezuelan context closely mirrors the Peruvian situation: ‘How can such models be elucidated in the absence of state interest in promoting a guideline for electroacoustic music?’ (Pérez-Valero, Reference Pérez-Valero2024). Much can be learned by examining the similarities and differences in the political, legal, and social narratives of various Latin American countries and their role in the development, or lack thereof, of particular musical cultures – especially those often framed within cultural discourse as external to traditional local music practices, as is the case with several musical genres in Peru, such as electronic music, rock, jazz and others.
2. National politics for technology and innovation in music education
Before delving into the specifics of the Circuito Abierto project, it is essential to first understand the unique conditions that have made its existence possible. As the UNM began transitioning into a full-fledged university under the oversight of both SUNEDU and the Ministerio de Educación, several significant structural changes were implemented, with the intention of adapting the university model to the institution’s specific context. A commission known as the Comisión Organizadora, composed of three traditional musicians, was tasked with overseeing this transition and securing licenciamiento – the accreditation by SUNEDU that would officially recognise the institution as a university. In response to this, the UNM established the Dirección de Innovación y Transferencia Tecnológica, with me appointed as its first director in 2021. In this text, the term innovation is used primarily in this institutional sense – referring to the actions and strategies promoted by a new office that had not previously existed at the Conservatory – rather than in the more general or promotional way the word is often used. At the time, new funding was allocated to the university to support the modernisation of both its educational framework and infrastructure, among other priorities. This pivotal moment in history provided the opportunity to design a set of strategies to foster the development of electronic sound arts at UNM, with Circuito Abierto emerging as one of the key initiatives. Even though the name of the project makes a direct reference to the culture of Open Science, no institutional official connection or comprehension of the culture exist yet, and the project was implemented as an artistic residency in an effort to allow for the application of a collaborative space based on the principles of Open Science and with the expectation that it could stimulate discussion on potential benefits, such as accessibility, transparency and social impact.
While much remains to be written and analysed regarding the influence of national political developments over the past decade on the perception, acceptance and growth of electronic sound arts, it is important to note that, despite the university not fully recognising the need for further development in this field and maintaining a passive, but non-confrontational stance, the pressure from the government to transform the traditional model appears to have resulted in some short-term changes that could be perceived as positive. It is important to note that, since the 1970s, several attempts have been made to introduce sound and music arts involving electronic technologies in Peru – though with limited success. In El archivo de música electroacústica de compositores latinoamericanos, Ricardo Dal Farra – who has done remarkable work mapping the history of Latin American electroacoustic culture – references the early involvement of several countries in electroacoustic music (Dal Farra Reference Dal Farra2004). Rather than discussing Peru as a national context, Dal Farra focuses solely on César Bolaños, since at the time no broader scene had yet developed. In many ways, this remains the case, as the challenges Bolaños faced upon returning in the 1970s have been largely reproduced by later governments, the music education system and local musical communities. Although Bolaños’ work gained significant recognition in his later years, the conditions he encountered upon returning to Peru in the early 1970s have been largely replicated by subsequent governmental authorities and the local system for music education. The limited musicological information and publications on these issues reflect the broader lack of spaces within the national educational model for integrating technology and innovation as core elements of music education. To clarify the situation, I can mention that I have, at times, been asked to innovate without the use of technology.
Governmental bodies, cultural agencies, traditional music conservatories and educational policymakers often appear to have limited engagement with contemporary art forms related to music. Their focus has primarily been on traditional cultures – those predating the technological advancements of the 20th century – and they are yet to engage in a dialogue with artistic communities and practitioners involved in music and technology. Since the government’s understanding of music largely depends on information provided by individuals regarded as national representatives of the field – many of whom have historically shown little interest in technology – it is perhaps unsurprising that related areas have tended to receive limited attention or support from the state. Moreover, scholars who have addressed challenges in Peruvian music education often reflect a similar disregard for these contemporary practices, which may contribute to their continued marginal position. One example of this situation is the text La educación musical en el Perú by Sánchez Málaga (Reference Sánchez Málaga, Hemsy de Gainza and Méndez Navas2004), former director of the conservatory (1986–1990), in which his historical account makes no mention of technology-based musical arts, except for a brief reference to an ‘unfortunate’ tendency to teach directly with electroacoustic instruments. This traditionalist position against the use of technology in music is also present in Peruvian popular music, as the comments regarding the use of electroacoustic instruments and amplification by Ladislao Landa, in his book Los Caminos de la Música. Géneros populares andinos en la segunda mitad del siglo xx, suggest (Landa Reference Landa2022).
Moreover, there is a contemporary dispute between the technical teaching of art and the logic of the university, which affects the development of art forms related to research and technology. These fields are often seen as foreign to traditional artistic practices and educational models, which may contribute to widening the divide. The ongoing dispute over the unique nature of national artistic universities compelled the government to revise the minimum quality requirements for university accreditation in order to accommodate the specific needs of traditional art schools. In response, SUNEDU issued Resolución de Superintendencia N° 0065-2022-SUNEDU, (SUNEDU 2022) which introduced the ‘Complementary and Specific Considerations for Universities of an Artistic Nature’. A critical analysis of the consequences of this differentiation has yet to be undertaken, and its impact on the level of scientific production within artistic universities may only become measurable over the coming decades.
3. Open science/open music
In addition to the circumstances previously explained, we must consider the particular situation of a traditional and conservative music institution in the country: the Conservatorio Nacional de Música. The transition to becoming a university posed a significant challenge for an institution made up of a community that, for the most part, had limited or minimal prior engagement with the university system. It had relied on the traditional model of a technical school – encompassing a preparatory school and a conservatory – with a master-apprentice structure for the transmission of knowledge. As a result, an endogamous culture was fostered in which most professors, and even authorities and administrative personnel, had to pass through the classrooms of the same institution in order to be considered part of the community. It is important to note here that endogamy is a common practice in academic education in Peru and not a particularity of musical education (Mori Reference Mori2014). This historical situation has produced, among many other consequences: (1) a limited diversity of ideas and perspectives, (2) a strong resistance to change, (3) a narrow and uniform academic discourse reflected in the curricula, (4) the risk of favouritism and nepotism as people outside the community could be seen with suspicion or distrust, (5) a limited openness towards external talent, (6) a potential decline in educational quality, as traditional professors may be asked to teach outside of their areas of expertise, and, most importantly for our discussion and (7) challenges in fostering a space for creation and new practices, hindering the discipline’s evolution.
A traditional vertical model, characterised by a hierarchical structure where authority and decision-making are concentrated at the top, has hindered open dialogue. So far, the only scholar willing to mention the possibility of endogamic practices within the institution has been Sadiel Cuentas, who subtly introduced the idea in an article, stating that ‘The community of contemporary classical music in Peru is small and unknown to the general public, which entails the danger of intellectual endogamy’. (Cuentas Peralta Reference Cuentas Peralta2024). This situation has generated conflict between the Ministerio de Educación, the highest educational authority in the country, and the authorities at the UNM as representatives of the traditional lineage of the institution. This tension culminated in an internal democratic election that ultimately led to a change of the highest authorities at the UNM in 2025 (MINEDU 2025). The outcome of this transition will require a deep analysis in the future to determine the level of success or failure of this transition in the generation of a high educational level for the country’s music students, both in the philosophical-conceptual and technical aspects.
The institution’s commitment to developing spaces for teaching contemporary electronic music and experimental sound arts appears to have diminished in certain areas due to several factors that merit further evaluation. A non-inclusive mindset, reflected in the belief that ‘if it’s art, it’s not for everyone’ (Schoenberg Reference Schoenberg1950), along with the perception that traditional music represents superior and exclusive art forms, has effectively curtailed discussions around 20th-century musical avant-garde movements, particularly those perceived as unrelated to classical music. This includes areas such as atonal and post-tonal technology-based music, alternative music production software, graphic notation and contemporary sound arts overall. Historically, the absence of formal spaces for studying arts related to musical technological development in Peru has compelled artists interested in these fields to seek alternatives. Many have either emigrated to pursue academic opportunities abroad or relied on self-directed learning and the establishment of alternative spaces, such as music collectives or laboratories. These initiatives, based on the principles of DIY culture and digital sharing, have created their own environments for learning, performance, distribution and the dissemination of non-traditional musical cultures. Since the 1980s, these circumstances have fostered the emergence of small yet vibrant communities centred around various practices of electronic and experimental technology-based music. However, young musicians interested in these arts often found themselves without a dedicated space to discover or engage with them, relying instead on sporadic concerts and workshops as their primary points of exposure. During my time at the Laboratorio de Música Electroacústica y Arte Sonoro, I came to believe that fostering a culture for these art forms was unlikely without adequate exposure, a commitment to knowledge-sharing and the dissolution of barriers between academically trained musicians interested in these arts and popular musicians already engaged in them but lacking formal training. In reality, neither academic musicians nor popular artists have had access to dedicated programmes for professional training in these fields, which has further hindered the development of a cohesive community for these practices. I considered the responsibility of the official public institution for musical learning to open the access to knowledge through collaboration and inclusivity, in order to secure the right of Peruvian artists to access equipment and training in these arts.
Incorporating the principles of Open Science – openness, collaboration and inclusivity – could address the problems highlighted at the Conservatorio Nacional de Música, such as limited diversity, resistance to change and a narrow academic discourse. By adopting a more open and collaborative model, the institution could play a role in supporting broader access, reducing perceptions of exclusivity and fostering an environment where those educated at universities, self-taught artists and marginalised communities and scholars can engage. This inclusive approach would promote diversity, foster creativity and enable a more dynamic exchange of ideas, ultimately strengthening the evolution of contemporary music in Peru. It would also ensure equal access to knowledge and resources, allowing the institution to better support the development of contemporary and future music in the country.
4. Circuito Abierto: an open science project
Although the idea of sharing scientific information has existed since the 17th century during the scientific revolution, recent advancements in digital technology and the internet have significantly accelerated efforts to make knowledge accessible to all members of society. A major milestone in this movement was the adoption of the UNESCO Recommendation on Open Science during its 41st General Conference in November 2021, which aimed to guide countries in implementing policies to bridge gaps in access to scientific knowledge. This concept, however, may have seemed unfamiliar to traditional spaces of musical education, which in many cases have been characterised by selective access, exclusivity of knowledge and restrictive sharing practices.
In alignment with the principles of Open Science and its commitment to democratising knowledge, I developed an artistic residency in 2022 at the UNM under the title Circuito Abierto: Experimentos en Síntesis Modular. This initiative aimed to provide hands-on exposure to electronic music by granting access to physical analogue modular synthesis equipment. To support this goal, I proposed the acquisition of three Eurorack analogue synthesis systems as part of the equipment for the Dirección de Innovación y Transferencia Tecnológica. This was a notable moment, as to my knowledge, it was the first time a university in Peru had access to such advanced technology, sparking critical discussions on composition using analogue modular synthesis systems. Opening the residency to both students at the UNM and the general public brought together diverse communities with shared interests in electronic music. This inclusive approach invited reflection on hierarchical narratives surrounding the concepts of musicianship and musical education, fostering a more democratic and innovative environment for musical exploration and learning. The artistic residency consisted of four sessions held at the Laboratorio de Música Electroacústica y Arte Sonoro 2023, during which participants engaged with analogue modular synthesis equipment. Both the 2022 and the 2023 residencies culminated with the creation of a composition recorded in real time and subsequently published as part of a three-CD collection (Various 2023, 2024) and a short documentary (Universidad Nacional de Música 2023). This project not only highlighted the creative potential of modular synthesis but also marked a significant contribution to the documentation and dissemination of experimental electronic music practices in Peru.
4.1. Electronic music as intangible cultural heritage
In Peru, patrimonio cultural – the nation’s intangible cultural heritage – is predominantly tied to traditional or folkloric practices, widely regarded as foundational to Peruvian identity (Congreso de la República del Perú 2004 Ley Nº 28296, Ministerio de Cultura 2012). Although the legislation does not explicitly exclude contemporary or technology-based forms, the prevailing criteria emphasise community-rooted traditions, with little explicit reference to technology. I contend that these criteria merit critical reexamination, as technology-based musical practices – rooted in experimental movements of the mid-20th century in Peru and abroad – are equally capable of articulating and performing cultural identity despite their limited visibility in heritage policy and UNESCO’s current emphasis. By omitting these practices, heritage paradigms risk overlooking how technology itself becomes a medium for cultural expression, adaptation and continuity in the modern era. With this in mind, I proposed the production and publication of compositions by the participants of the Circuito Abierto project, with the goal of fostering the creation of a collective memory of the moment and contributing to the shaping of a national heritage. This initiative sought to address the lack of continuity often found in the country’s academic practices in electronic music, which have been typically fragmented and disconnected, while also addressing the tendency to overlook the establishment of a national history for electronic music practices.
4.2. Shifting the composer paradigm
The UNM follows a traditional model of classical music education that maintains a distinct separation between composer and performer, thereby often reinforcing the perception of the composer’s authority over the musical work. This framework can prolong the belief that only those trained in the complexities of composition are best suited to create music. Furthermore, it upholds the notion that the composer retains complete control over the musical material, shaping compositions through their creative genius, following the 16th and 17th century model (Young Reference Young2014), which remained influential during the 18th and 19th centuries with Modernist music (Piotrowska Reference Piotrowska2007). For example, electronic music composition often diverges significantly from traditional practices, yet it may either maintain or depart from structural and dramatic narratives, highlighting the versatility of modern compositional approaches. As discussions around the transformation of traditional compositional paradigms are still nascent in Peru, Circuito Abierto provided a space that encouraged questioning and rethinking roles within music creation. The project brought together students of traditional composition, popular electronic musicians and artists from various disciplines, fostering a rare dialogue between diverse creative practices. In its first iteration, the programme included at least 8 students from the Composition programme at the UNM, who collaborated alongside 15 other residents from varied backgrounds, including music students from other institutions. This convergence of perspectives created an open space to question hierarchical narratives about music-making and expanded the possibilities for interdisciplinary collaboration. It is important to note that most of the participants have not had an interaction with modular analogue synthesisers ever and were therefore in the same situation when confronted with the instruments. While students from the UNM had previously taken classes with me on electronic music using Pure Data, this project marked their first encounter with the unique challenges of analogue instruments. These included the inability to save their work or exert full control over every aspect of their compositions, demanding a more intuitive and hands-on approach. The residency also highlighted the complementary skill gaps between academic composers and popular musicians, as each group possessed expertise that the other lacked, fostering a dynamic exchange of knowledge and techniques, which became evident in the wide aesthetic range of the resulting products.
Finally, I believe that popular musicians and artists participating in the project were comfortable with the performative aspects of interacting with machines, whereas traditional composers had a distinct experience. Often discouraged from performing on instruments, some traditional composers were constantly reinforced at the university on the idea of performance as encroaching on another’s territory. They came from a culture that sees interpretation and performance as the exclusive domain of trained specialists, each mastering a specific instrument. This perspective highlights the potential benefits of greater fluidity and collaboration between composition and performance roles in traditional music education, encouraging a more holistic approach to musical creation. I have discussed some of these issues before, in relation to another project at the institution: the Ensamble de Laptops de la Universidad Nacional de Música – ELUNM (López-Ramírez-Gastón Reference López-Ramírez-Gastón2021), now known as the Ensamble de Laptops del Perú – ELP.
4.3. Learning synthesis outside of a classroom
Since, to my knowledge, there are no formal programmes dedicated to studying electronic sound arts in the country, and with the UNM being the only institution with a tradition of offering electroacoustic classes, the teaching of synthesis is not included in the curricula of national universities, including the UNM. While some professors may incorporate synthesis into their classes on other subjects, the study of electroacoustic music has traditionally been available primarily to composers at the conservatory. However, in 2022, I successfully introduced Sonoridades Contemporáneas y Arte Sonoro as a required course for all students. Although there was always an underlying interest in these arts, often discussed and rumoured within the conservatory, there appeared to be a limited number of trained individuals capable of teaching them. Within this context, Circuito Abierto served as a space within the UNM that not only provided guidance and equipment but also fostered independent, self-driven learning and hands-on experience in synthesis. While the structured curriculum did not include space for synthesis, let alone for analogue synthesis practice, the residency served as a gateway to a communal learning space for people from all backgrounds eager to engage in the conversation. This provided (1) a flexible space layout, (2) opportunities for collaborative engagement, (3) a platform for independent and personalised development, (4) encouragement of innovative musical practices, (5) constructive feedback from fellow residents, (6) a space for communication between marginalised musicians and composers, largely free from the constraints of traditional musical interpretation and (7) a disruption of the conventional teacher-student dynamic, as well as the divide between academic and popular students. Circuito Abierto also facilitated the development of new theoretical knowledge, extending beyond traditional concepts of harmony, scales and rhythm, while exploring sound design and timbral and spectral aesthetics. For many of the programme’s residents, synthesis training marked their first exposure to electronic sound creation, encompassing techniques such as sound generation, modulation, filtering, effect processing, sequencing and automation. This hands-on experience provided a foundational understanding of the tools and concepts essential for producing innovative and experimental electronic music. For composers, it posed the challenge of navigating a completely different set of rules and materials, while for those from the popular electronics scene, it offered an opportunity to present their work and knowledge to a community eager to engage and learn.
5. Circuit building and circuit access
Prior to the Circuito Abierto residency, I devoted considerable time to organising workshops focused on constructing basic electronic circuits for sound production. I documented part of this work over a decade ago (López-Ramírez-Gastón, Reference López-Ramírez-Gastón2013). The core objective was to equip participants with the knowledge and tools to build their own electronic musical devices, recognising that the high cost of analogue systems has often made ownership difficult or impractical for most musicians in Peru. The subsequent opportunity to acquire complete analogue synthesis systems for the UNM – and to make them accessible to both students and the general public – marked a significant shift. I viewed this not only as a rare institutional advancement and, from my perspective, as part of the state´s role in supporting inclusive and modern music education.
5.1. The systems
The following three systems were purchased and made available for classes and the artistic residency (see Figure 1):
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System 1 (DOEPFER A-100): 2x Standard VCO A-110, 2x ADSR A-140, 2 x LFO A-145, 1x Ring Modulator A114, 1 x Audio Divider A-115, 1 x VC Waveform Processor A-116, 1 x VCF1 A-120 (24dB low pass 1), 1 x XP VCF A-106-6, 1 x linear VCA A-130, 1 x exponential VCA A-131, 1 x linear Mixer A-138ª, 1 x exponential Mixer A-138b, 1 x Dual S&H A-148, 1 x Dual VC Switch A-150, 1 x Trigger Divider A-160, 1 x Trigger Sequencer A-161, 1 x Dual Trigger Delay A-162, 1 x Dual Slew Limiter A-170, 1 x Multiple I A-180.
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System 2: Polyend Poly 2, ALM Busy Circuits ALM017 - Pamela’s NEW Workout, Arcus Audio Buff Mult, 1010 Music Bitbox Micro, WMD Overseer, After Later Audio Rainier, Mutable Instruments Beads, Acid Rain Technology Junction, Strymon Magneto, Make Noise Richter Wogglebug 2014, New Systems Instruments Inertia, Make Noise Morphagene, Make Noise QPAS, DivKid ochd, Acid Rain Technology Maestro, ALM Busy Circuits ALM009, Befaco Stmix, Befaco OUT V3.
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System 3 (Zebranalogic): VCO, Charge, Pacman, VCO, Noise, ADSR, Envelope Follower, Chorus Deforme, Cyclops, Delay, Mixer 4 INputs, Salida Maestra.
Systems used.
Since no other classes involving analogue modules are currently being taught in the country – or have been in the past, as far as is known – compiling such a list may be of future interest, serving as a record of equipment that has been accessible locally for these practices. Today, few Peruvian artists use analogue modular systems, and some have turned to fabricating their own modules as a more economical alternative. I have previously written about electronic circuit building in Peru in relation to the country’s social and cultural historical shortcomings (López-Ramírez-Gastón Reference López-Ramírez-Gastón2013), exploring the construction of a history from below (Bhattacharya Reference Bhattacharya1983). At the time, I remarked on ‘the small craze of electronic experimental music at the beginning of the 2000s, when some homemade tone generators began to appear at various electronic performances’ (López-Ramírez-Gastón Reference López-Ramírez-Gastón2013, 296), with particular attention to the work of the informal company Zebranalogic.
5.2. Zebranalogic
As a tribute to the Peruvian efforts to overcome economic hardship and limited access to musical technology – particularly non-commercial forms – I commissioned the owner of Zebranalogic, now residing in Sweden, to build a system aligned with the company’s original ethos. This involved embracing the informal and aleatory cultural logics that defined its early work during the 2000s in Lima. I have previously discussed the specific values associated with the subcultures of underground electronic music in Peru up to the first decade of the 2000s, particularly the concepts of informal, cachinero and recursero (López-Ramírez-Gastón Reference López-Ramírez-Gastón2008). The inclusion of the Zebranalogic system contributed to the residency’s musical production by generating aleatory and surprising sounds that challenged conventional expectations of precision and reliability in electronic instruments. Because Zebranalogic’s early machines were built from reused components and often produced imperfect, unpredictable behaviours, they introduced a distinctive aesthetic where imperfection and chance became productive elements of creation, making the residency’s outcomes unique both sonically and culturally.
6. The concert hall
Performing live analogue synthesis within the Peruvian cultural landscape presents significant challenges – not only due to the inherent unpredictability and complexity of the equipment, but also because of the absence of a well-established, supportive cultural infrastructure surrounding this practice. Most of the time, artists working with analogue modular systems in Peru have presented their work within the underground scene, often in informal or marginal spaces. This project sought to depart from this pattern by bringing modular synthesis into venues traditionally reserved for classical music and other forms considered more socially accepted or sophisticated. A key component of the residency programme was the intention to share the artistic work with the general public, aiming to promote social and aesthetic ear training while bridging the gap between experimental sound art and broader cultural engagement. To this end, several concerts were organised, ensuring that residents had opportunities to present their compositions. For many participants, these performances marked their first experience within a formal social and artistic context, representing a notable point in their professional and creative development. The residency’s public-facing efforts began with participation in the Semana del Sonido 2023, followed by presentations at various cultural centres across Lima. Notably, many residents of Circuito Abierto had never performed live before. For some, this was due to the prevailing convention within professional composition that discourages composers from engaging directly with instruments in performance, as live interpretation is traditionally reserved for performers. Others came from different artistic – or even non-artistic – backgrounds and had never previously considered live musical performance as part of their practice. A few belonged to a semi-established underground culture of electronic music experimentation but had lacked access to professional spaces for formal musical training. This project, by integrating these diverse backgrounds, aimed to unify different cultures and social groups, fostering cross-disciplinary collaboration and expanding the notion of what musical performance can be.
7. Conclusions
The present publication aims to foster interaction between the English-speaking world, which has a long and established tradition of electronic sound arts in its various forms, and a country like Peru, which still maintains a subaltern and marginalised position in these areas. While many Latin American countries have developed vibrant electronic sound and experimental music scenes, Peru’s situation is distinct. Its contributions to this field have often been underrepresented, both historically and in contemporary discussions, due to the unique sociopolitical and educational challenges the country faces. This situation could be improved by creating communication bridges that are yet to be fully established. The Circuito Abierto project, with its multifaceted approach, sought to: (1) bring technology-based musical experimentation, particularly synthesis, to all communities in Peru, regardless of class, education or aesthetic preferences; (2) introduce the technological musical revolutions occurring elsewhere into official channels of music education in the country; (3) start the generation of a musical memory of the ongoing experimentation by publishing the work of the programme’s residents and (4) promote a climate of cooperation among diverse musical social groups, aiming to bridge a knowledge gap that may take considerable time to overcome.
The experience of Circuito Abierto may serve to illustrate both the challenges and the potential of integrating open, technology-driven approaches within the traditionally conservative landscape of Peruvian music education. Despite facing systemic resistance rooted in historical and institutional factors, the project has shown that fostering collaboration, technological literacy and experimental practices is feasible within educational contexts that have had limited prior engagement with technology-driven experimental practices. By leveraging the principles of Open Science, Circuito Abierto could not only bridge gaps between academic and popular music scenes but also provide possible frameworks for greater accessibility and transparency in music creation.
However, the project’s trajectory also underscores the limitations facing the development of electronic music and sound art in Peru. Institutional endogamy, lack of state support and a narrow academic discourse continue to marginalise contemporary practices. Meaningful progress will require sustained efforts to reform educational structures, promote inclusivity and encourage dialogue between traditional and emerging artistic communities. Circuito Abierto can be understood not in isolation but as part of a longer, unfinished process in which various artists and collectives have sought to create spaces for experimentation, dialogue and education. In this sense, it serves as a case study for how targeted initiatives can spark broader conversations about artistic development, identity and the future of music education in Peru, indicating potential directions for increased openness and diversity within cultural programming and education. Ultimately, this initiative highlights the broader context of how sound-based art, technologies and aesthetics have – or have not – been used as educational and research tools in Peru. By embracing the principles of Open Science, the project not only promotes greater accessibility and collaboration but also encourages the transparent sharing of knowledge and resources. It also reminds us that every journey is part of a collective and historical process, and that fostering meaningful change often begins with small, situated steps.
Competing interests
The author declares that he has no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper.
