WORKS BY CATEGORY
FIXED AND OPEN SCORES
2021 — Eighty-Five Audible Moments
Electroacoustic version for piano and fixed media.
2021 — Seagull’s Tango
For piano and stereo fixed media.
2019 — Antiphonal
Open-score work for walking musicians in a gallery environment with live electronics.
2015 — Four Stone Guitars
Four-channel score for four electric guitars.
2007 — Solo, Duo, and Trio
Open-score instrumental work.
2004 — Stone Guitar with Tig Welder
For electric guitar and amplified welding.
1998 — Sing and Follow The Lieder
Open-score work.
1998 — Clue (Quotes and Citations)
Open-score work.
1998 — Fishtank: Music Borderline
Intermedia/open-score work.
1996 — In a Fishtank
Evening-length intermedia work combining independent compositions, gated works, video, fixed media, instrumental performance, and ensemble pieces.
1994 — Piece for Small Sounds
For two performers using amplified small sounds.
1993 — Holi, Holi Huqui, Huqui…
For twelve mixed voices, a cappella.
1993 — Two Basses Four An Argument
For two amplified double basses, piano, and electronics.
1993 — Dreamcatcher
For string quintet, vocoder, and fixed media.
1992 — 37, For Instance, or 36 (In Memory of John Cage)
For string orchestra and fixed media; also part of the Sound Portrait series.
1992 — Sin Ninguna Imperfección
For instruments and fixed media; Sound Portrait.
1991 — Lo Bueno Sería
For instruments, text, and fixed media; Sound Portrait.
1990 — Con el Dedo en el Timbre
For instruments, dancer, video, and fixed media.
1988 — Fanfarria II
For any number of instruments.
1988 — Fanfarria for X Number of Instruments
For any number of spatially distributed instruments.
1988 — La Pieza
Interactive radio work.
1988 — Points of Reference
For instrumental ensemble.
1988 — Elipsoidal a Soto
For guitar.
1987 — Truly Yours
For xylophone and fixed media.
1987 — Entropy Etude
For string orchestra.
1986 — Entropy
For piano.
1983 — Three Pieces for String Quartet
1982 — Cervatana Music
For flute and live electronic processing.
SOUND INSTALLATIONS
2025 — Quail Roost Sanctuary
Permanent, site-specific multichannel sound installation commissioned by the Miami-Dade County Department of Art in Public Places. Thirty-two speakers extend through a 320-foot breezeway at Quail Roost Station, activating resonant characteristics of the architecture together with processed environmental recordings.
2025 — Memorial
Site-specific sound work presented at CYFEST, Mexico City.
2024 — Resonant Field
Site-specific work exploring architectural resonance and spatial sound.
2024 — Chappell’s Chapel
Site-responsive sound installation.
2024 — Cylinder
Site-specific resonant sound work created for FIU’s i360 XR Theater, using multichannel spatialization within the cylindrical architectural environment.
2023 — Glasshouse-Yerevan
Four-channel site-specific sound installation created for CYFEST15 at the Yerevan Botanical Garden, Armenia.
2023 — How That Circle Fits Into This Square
Site-responsive sound work.
2022 — Soundscape With Grasshoppers
Four-channel installation created at the invitation of Robert Chambers for TheBluPrnt, incorporating Robert Thiele’s concrete monoliths.
2019 — (~) Tilde (´) Tilde: A Soundscape of Little Havana
Eight-channel sound installation incorporating lighting, architectural structures, and projections in collaboration with Freddy Jouwayed.
2019 — Untitled: (Art and) Social Commentary [YouTube Variations]
Eight-channel installation combining multiple online performances of works by Bach, Corelli, and Gesualdo with spatial sound and lighting.
2018 — Four Audible Experiences of Movement of Sound in Space
A group of spatial works created for Audiotheque 2.0:
Small Sounds Up The Wall (for Alison Knowles) — 16 channels
Everglades: Applied Universal Force (for Charles Recher) — 30 channels
String Solo (for Vito Acconci)
Eighty-Five Audible Moments: Thirty-Channel Orchestration (for Pauline Oliveros)
2017 — Sin Ninguna Imperfección — Listen Adaptation
Eight-channel installation adaptation.
2017 — Sounding Through Empty Words IV for John Cage II
Spatial installation derived from John Cage’s performance of Empty Words IV.
2017 — Study for Surrounded Space
Fifteen-channel installation within a ten-foot cube, incorporating material from the Wolfson Archives, with Freddy Jouwayed.
2015 — Two Bronzes [1LG and 2SR]
With Rene Barge and bronze sculptures by Robert Thiele; sound transmitted through the sculptures using exciters.
2013 — Poem (20130700)
Site-specific library installation using a subwoofer to create distant, muffled sounds perceived partly through the listener’s “mind’s ear.”
2012 — Conversation Piece for Vito Acconci
Four-channel installation using frequencies derived from the acoustical characteristics of the exhibition space.
2011 — Stairway
Six-channel sound installation, Museum of Art Fort Lauderdale.
2010 — Coincidence 2010
Multichannel installation combining recorded shrimp sounds with resonances derived from an elevator bay.
2009 — Small Sounds on a Table Top
Directional sound installation presenting highly localized amplified small sounds.
2008 — Small Sounds in the Workplace
Six-channel site-specific sound installation created for a working dental clinic.
2008 — Two Chambers Divided By An Opening
Multichannel sound environment with Rene Barge.
2007 — Paces
Four-channel sound and video installation with Lou Mallozzi.
2007 — Ffffff
Miniature 5.1 sound installation commissioned by CIFO in conjunction with Robert Chambers’ Floor Flute.
2006 — Of The 87 Rolls
Interactive work for player organ, Vizcaya Museum and Gardens.
2006 — Organic Pipes
Five-channel site-specific installation, Vizcaya Museum and Gardens.
2004 — In the Ear of the Bee Holder
Interactive sound sculpture.
2003 — Tele-transportation Experiment: Fly
Multichannel sound installation.
2003 — Mini-Breezeway
Site-specific sound installation.
1995 — ¿Metaphor?
Sound installation.
1995 — Power Lines
Large-scale multichannel installation with Larry Cressman using approximately 80 speakers.
1994 — Yo Co-Own a Matopeya
Sound work based on Eugenio Miccini.
1994 — Field
Multichannel installation with Larry Cressman incorporating approximately 300 miniature speakers and sculptural drawings.
1994 — An Interaction of Ideas Developing from an Installation of Sound and Computer Images
Collaboration with Tom Schmitt.
1993 — Una Guitarra Toca Sola 2
Performance/installation realization related to 37, For Instance, or 36.
1993 — There Is a Hole
Sound, video, and light installation with Kate Rawlinson and Tom Downs.
1993 — Self-Listening Device
Interactive sound work.
1992 — Improvisation
Large-scale multichannel installation with Larry Cressman incorporating approximately 300 speakers.
1992 — The Garden
Installation with Diane Dawes and Kate Rawlinson.
1992 — Una Guitarra Toca Sola
Sound installation incorporating text by Bob Gregory.
1991 — Hold On!!!
Sound installation.
1991 — Activity Accumulator
Interactive installation in which successive visitors contributed pitches to an accumulating sonority.
1990 — Ferrocarril
Kinetic sound installation with Fred Snitzer using computer-controlled toy trains.
1989 — R con R
Eight-channel kinetic sound installation with Fred Snitzer, incorporating computer-controlled toy trains and material derived from a Latin American tongue-twister/song used to practice the rolled R.
SOUND PORTRAITS
2019 — (~) Tilde (´) Tilde: A Portrait of Little Havana
Four-channel and stereo acousmatic Sound Portrait.
2007 — Convex for David Watson
Sound Portrait incorporating bagpipes and an extensively stretched whistle sound.
1992 — Retrato: Luis Gomez-Imbert
For double bass and fixed media.
1992 — Retrato: Ricardo Dal Farra
For fixed media and real-time processing.
1991 — Portrait: Keith Aleo
For percussion and fixed media.
1991 — Auto-Retrato
Live electronics and video.
1990 — Portrait: Bob Gregory — Bebop in the Forest of Lonely Rhythm
Sound Portrait constructed from Gregory’s recorded voice and later synchronized with his spoken text.
1990 — Retrato: Flores Chaviano
For guitar and fixed media.
1990 — Portrait: Joseph Celli
For oboe and fixed media.
1989–91 — In Memory of Gentle Giant
Early Sound Portrait/composition using sampled fragments of Gentle Giant recordings, realized in multiple instrumental versions.
GATED PIECES AND PORTRAITS
2007 — Concave for Chris Mann
Four-channel gated Sound Portrait.
2007 — Piano Marina
Work combining piano, pendulum microphone, quadraphonic fixed media, and gating processes.
2003 — Fishtank GTR: Evidence No. 1
For custom Fishtank guitar and gated electronics.
2001 — Electra
Gated score for actors.
2000 — Music Borderline
Gated performance work.
2000 — In My Mind as I Work
Musical saw and four-channel gated fixed media.
1999 — RE: Jon
Gated portrait for trumpeter Jon Nelson.
1997 — Trump(s) Car(d)
Created for Meridian Arts Ensemble.
1997 — RE: Elizabeth
Gated portrait for harpist Elizabeth Panzer.
1996 — Piano Ma Non Tango
Gated version of RE: TdMare.
1996 — RE: TdMare
For Anthony de Mare.
1996 — RE: David
For David Manson.
1996 — Pickup Sticks
Gated performance work.
1996 — Mapa/Memoria
Generative six-channel gated Sound Portrait with video by Gerardo Suter and choreography by Isabel Beteta.
1996 — Fishtank GTR
Custom four-string electric instrument with four-channel noise-gating system.
1995 — Ventanas de Contacto (Contact Windows)
For amplified instrument and gated fixed media.
1995 — In Gated Memory of Gentle Giant
Noise-gated fixed-media composition for improvising performer(s), derived from sampled Gentle Giant recordings.
FIXED MEDIA AND RADIO WORKS
2019 — Carlos Explains
Sound poem created with voice synthesis, using English text rendered phonetically for the Spanish-speaking synthesized voice “Carlos.”
2000 — Ro-ro-ro-robot
Stereo acousmatic composition.
1999 — Sound Piece
Created with Beth Boone.
1997 — Sound Piece
Experimental Sound Studio version.
1992 — Tracing the Radio Landscape
Twenty-six-minute radio work with Bob Gregory, commissioned by New American Radio.
1992 — Preparing the Air to Let the Rhythm Be Heard and Help the City With Its Dancing
One-hour radio work with Bob Gregory, created for Subtropics and broadcast on WLRN.
1990 — Border Notebook
Compositions created for Guillermo Gómez-Peña’s radio drama.
1988 — La Pieza / NMA-Miami Version
Interactive radio work commissioned for New Music America/Miami and broadcast on WLRN.
ACOUSMATIC AND INTERMEDIA PERFORMANCE
2025 — Tone Poem in Surround
Twenty-minute surround composition incorporating sounds of writing, small piano sounds, radio speech and transmissions, Morse code, and other Audibles whose conjunction suggests a possible poem.
2024 — Quadrants
Multichannel spatial composition.
2023 — Prelude to 2100
Electroacoustic/intermedia work.
2017 — Small Sounds in a Smaller Space
Four-channel acousmatic work.
2017 — Eighty-Five Audible Moments
Four-channel version.
2016 — Small Sounds in a Large Space
Six-channel acousmatic composition.
2016 — Hextet
Six-channel composition.
2016 — CTURNS50
Four-channel open-score acousmatic work.
2016 — 20160326.QUAD-DT.WUMT
Four-channel composition.
2016 — Eighty-Five Audible Moments
Stereo version.
2015 — Incidental Music for Tribe
Created in collaboration with choreographer Alexey Taran.
2015 — Visual Noise in Six Parts
Noise paintings presented through video.
2015 — V-PDE
Four-channel open-score acousmatic work.
2007 — C-Ybor-G
Four-channel sound with large-scale two-channel architectural video.
2006 — The Sound of Earth Beneath My Feet
Performance using headphones, preamplification, and custom transducers.
2006 — Light Piece with Fish
Four-channel sound and video.
2002 — I Saw Maria in the Museum
Itinerant musical-saw performance moving through museum spaces and interacting with pitches derived from architectural resonances.
2001 — Small Sounds for Sale
Real-time sound-on-sound performance in which works were recorded, mixed, mastered, and published on CD during the event.
2001 — An i 4 an Eye
Small sounds and video lecture-performance.
2000 — Light Piece
Intermedia performance.
2000 — Anatomy of Desire (Dance)
Sound work for Helena Thevenot.
2000 — Anatomy of Desire (Film)
Sound for film by Dinorah de Jesús Rodriguez, created as an element of Thevenot’s dance work.
1999 — Untitled
Musical saw and fixed media for Helena Thevenot.
1999 — Imaginary Mermaid Calls and Songs
Electroacoustic/intermedia work.
1997 — Tres Cancioncitas en Ingles
Graphic score.
1997 — Too Much of a Good Thing Is Fabulous
For piano, eight hands.
1997 — Composer Series: Robert Ashley
Object/intermedia work.
1997 — Audience Piece
Event score.
1995 — Water, Water Everywhere
Automated piano and found objects.
1995 — Enclosures with Dreams and Spirits
For voice, amplified object, gates, and fixed media.
1994 — Williams Tells of Rights
Text score for amplified snare drum.
1994 — RCA Victor’s True Story
For piano, live electronics, and medium-sized dog.
1994 — Swept Away | Piano Piece with Pendulum
Open/event score for piano; the pendulum-microphone process became integral to later realizations.
1993 — Music on a Budget
Collection of short works employing amplified everyday objects and mixed media:
Variations on a Shoestring
Sound Consumption
More for Less, or Time Is Money
Pocket Change
Cheaper Imitation: Stars and Stripes Forever… More
1992 — Heavy Metal
Amplified music stand and fixed media.
1991 — To the Victims
Snare drum and fixed media.
1990 — Black & White with Fountains
Multichannel sound installation/performance.
1986 — 142857
Electronic work for DX-7 and fixed media; early performances incorporated a homemade laser visualization device.
PERMANENT AND TEMPORARY PUBLIC ART
2025 — Quail Roost Sanctuary
Permanent 320-foot multichannel sound installation at Quail Roost Station, commissioned by the Miami-Dade County Department of Art in Public Places.
2014 — Walk-Run
Sixteen-channel public artwork combining images by Charles Recher with a soundscape created with Rene Barge.
2014 — Bats and Insects
Sixteen-channel, 200-foot installation at Florida Atlantic University using exciters and resonant panels with recordings of Everglades bats and insects.
2014 — Flow
Public sound installation by PUNTO (Armando Rodriguez and Gustavo Matamoros) along the ArtCenter/South Florida facade and Listening Gallery.
2012 — Sounding Through Empty Words IV
Sixteen-channel public installation derived from John Cage’s performance of Empty Words IV, created for Listening Gallery. Contemporary documentation describes it as a tracing or “shadow” of Cage’s performance designed to expose the acoustical signature of the site.
2008 — Cardinal Points
Four-channel public sound installation with Rene Barge.
2004 — Breezeway
Permanent 60-channel, 160-foot sound installation with Shahreyar Ataie at FIU’s Paul L. Cejas School of Architecture. Matamoros designed the sound system and created its audio material from architectural resonances and a Noise Melody; Ataie designed and developed the physical installation.
2001 — Symbiosis by Osmosis
Site-specific public sound work addressing sound pollution between the Miami Beach Botanical Garden’s Japanese Garden and an adjacent bus stop.
2001 — Dreams Gathered
Public sound installation with Shahreyar Ataie using facing windows across NE 125th Street in North Miami.
PERFORMING COLLABORATIONS
2006 — Monitor
Four-channel acousmatic sound, four-channel live video, and mobile directional sound with Charles Recher.
2005 — Hypersonic Flock
Performance using nine mobile highly directional loudspeakers worn by dancers moving through the audience.
2005 — Cars & Fish
Large-scale collaboration with Charles Recher combining twelve-channel spatial sound with architectural projections, commissioned in connection with the opening of the performing arts center’s Plaza of the Arts during Art Basel.
2003 — Amazonas
Performance incorporating text by Alison Knowles, musical saw, and found objects.
2002 — Out of Thin Air
Collaboration with Russell Frehling.
2002 — Very Honhardt
Collaboration with Shahreyar Ataie.
1998 — Hardwareize
Spoken text, piano, and musical saw.
1997 — Coffee, Chocolate, Art
Collaboration with Charles Recher.
1995 — Private Thoughts/Public Forum
Collaborative performance work.
1994 — Of Cycles and Water
Collaboration with Julio Roloff.
1989 — Patoiz
Collaborative work with poet Bob Gregory using voice and live electronics.
FROZEN MUSIC
Frozen Music is the sound-art collective founded by Gustavo Matamoros with David Dunn and Rene Barge. Rather than functioning as a conventional ensemble, its performances bring autonomous sound-making practices together within a shared acoustic environment.
2023 — FM: Symbiosis
2021 — FM: Sound Paintings
Large-scale spatial sound work created for the New World Center’s SoundScape Park, using the Meyer Sound Constellation system and approximately 120 loudspeakers featuring images by David Dunn.
2021 — FM: Super Full Moon Sound Event
2021 — FM: Paranormal
2021 — FM: Summer
2021 — FM: Spring II
2021 — FM: Spring I
2021 — FM: Winter
2018 — FM: March in NY
Extended eight channel Frozen Music performance at Roulette.
2018 — FM: March in NY
Extended sixteen channel Frozen Music performance at The Honk Tweet in Newark, New Jersey.
2015 — FM: SoundSpace
Large-scale spatial performance at New World Center’s SoundScape Park. Twenty-four independently spatialized channels—eight for each performer—were distributed through 120 loudspeakers.
2014 — FM: Picnic 5
2014 — FM: Chapel
2014 — FM: Picnic 4
2013 — FM: Picnic 3
2012 — FM: Pond
Twenty-four-hour outdoor sound work with David Dunn, presented as part of ISEA2012 Albuquerque: Machine Wilderness. Contemporary documentation also identifies the ISEA performance as a major Frozen Music event.
2012 — FM: Awning
2011 — FM: Plaza
2011 — FM: Awning
2011 — FM: Wareyard
2011 — FM: Alley
2011 — FM: Picnic 2
2011 — FM: Corners
2011 — FM: Terrace
2011 — FM: Park/Picnic
2011 — FM: Walk
2011 — FM: Early Timely Late
2011 — FM: Winter
2010 — FM: Polyphony
2010 — FM: Scaffolding
2010 — FM: Emergency Radio
2010 — FM: Key
2010 — FM: Subtropicalia
2010 — FM: Sweat in C
2009 — FM: Autonomous Sounds I & II
2009 — FM: Canal
Inaugural Frozen Music performance, conceived and designed by Gustavo Matamoros and performed live by Matamoros, David Dunn, and Rene Barge along the Collins/Dade Canal in Miami Beach. Eight wireless channels extended the work along the canal for a thirteen-hour performance during Sleepless Night. The Frozen Music archive independently identifies Canal as the collective’s first work.