Graciela Castillo (born 1940) is an Argentine electroacoustic composer. She was born in Córdoba, Argentina. In the mid-1960s, she was among a group of composers that created the Experimental Music Center (Centro de Música Experimental) at the National University of Córdoba. She composed music at the center, and later took a position as Professor of Composition and Music Analysis at the National University.
Selected works include:
Concreción 65, concrete music on tape, 1965Y así era, for tape, 1982Diálogos for two voices, typewriters, radios, and percussionHomenaje a Eliot, open work for voices, concrète sounds and music theatre actions, both in 1965Colores y masas, concrète music for paintings by José De Monte, in 1966Estudio sobre mi voz for tape, 1967Estudio sobre mi voz II for tape, 1967Tres estudios concretos, for tape, 1967El Pozo, original version for voices, two wind instruments, typewriters and percussion, 1968 (the score was published in John Cage's book Notations), second version for instruments and tape, around 1969Memorias, a series of three electroacoustic pieces for tape ("La casa grande", "Memorias" and "memorias II"), 1991Tierra for tape in 1994Iris en los espejos for tape, 1996Iris en los espejos II for piano, keyboards and processed sounds, 1996De objetos y desvíos for tape, 1998–99Los 40 pianos de San Francisco for prepared piano and processed sounds in 1999Alma mía for tape in 2000Ofrenda for flute and processed sounds, 2001Ofrenda II for flute and processed sounds, 2001Retorno al fuego, for tape, 2002La vuelta (Tango), for tape, 2002