The music of Carole Chargueron

Carole Chargueron is a composer and member of Mexico's National System of Arts Creators (Sistema Nacional de Creadores de Artes). Her work spans mixed electroacoustic music, acousmatic composition, audiovisual installations, and a sustained reflection on music as it relates to space and the performing arts

Chargueron holds a bachelor's and master's degree in musicology, and went on to study electroacoustic music in Nice before traveling to the United States to work with Morton Subotnick at CalArts. She completed her formal training in composition at the Conservatoire National Supérieur de Musique et Danse de Lyon.

Since settling in Mexico in 1998, she has been a central figure in the country's electroacoustic music scene. She has led the electroacoustic workshop at the Escuela Superior de Música and served as coordinator of its Composition Academy. She has also been part of the teaching faculty of the transdisciplinary diploma program "Tránsitos" at Cenart, and co-organized the electroacoustic music festival Sismo 04. Her work has been supported by multiple grants from Fonca and Ibermúsicas, and she received a commission from CEPROMUSIC marking the centenary of the Palacio de Bellas Artes (2014). Her pieces have been presented at the MUAC's Sound Experimentation Space — including as part of the exhibition Reverberaciones — and on numerous occasions at the FIMNME.

Since 2015, Chargueron has devoted much of her creative practice to the concept of the fictional soundscape. Working with field recordings gathered across diverse sonic environments, she modifies, transforms, and recontextualizes her material to construct imaginary sonic worlds. The first piece in this ongoing cycle, Fonomicroscopía del D.F., was commissioned by the Foro Internacional de Música Nueva Manuel Enríquez for the MUAC's Sound Experimentation Space (2015) and premiered in a 22.2 multichannel version. Cerro del Bramador draws on recordings of the singing dune of the same name in Chile's Atacama Desert, developed during an artistic residency supported by Ibermúsicas. Kafana on the Water uses a taxi ride through Belgrade as a narrative thread to explore the soundscapes of the Balkans. Her piece La Selva ya no suena — inspired by an article on the endangered sounds of tropical rainforests — is composed entirely from field recordings made in the Costa Rican jungle and was created with the support of the Sistema de Apoyos a la Creación y Proyectos Culturales.