Daniel Teruggi (1952-) studied Physics, composition and piano in Argentina. In 1977 he moved to France where he studied at the Paris National Conservatory. In 1981, he starts working at INA (National Audiovisual Institute), at the Groupe de Recherches Musicales (GRM). In 1997 he becomes Director of the Groupe de Recherches Musicales of INA, a position he kept until his retirement in 2017. From October 2001 to 2016 he was simultaneously Director of the Research and Experimentation Department of INA.
He has been active in musical and audiovisual research and regularly composing new musical works. He is a founding member of the Electroacoustic Musical Studies network, in charge of an annual conference on electroacoustic music analysis. Likewise, he has composed more than 90 works mainly for the concert; using electroacoustic devices in acousmatic situations or with live instruments. He is the author of numerous research articles on the sound and perception of music or musical analysis. His music has been performed in more than 30 countries and published in various CD collections.

Instants d'hiver (Winter moments) (1993), 18'

Winter, a moment of retreat, always settles in my work. I envision, I plan, I start in winter what the rest of the year will see bear fruit. In recent years, winter has often been the occasion for dead-end music, of projects that have remained in drawers that are definitely closed.
For these projects; ideas and intentions were formed. Embryos of music have remained unfinished. Moments of intention during which music almost came close to being, and then...
And then there were completed projects that became precious moments and completed winter works. In the process of interior revisiting, I reopened these drawers. They were beginning to have the dust of oblivion, moreover the sounds they contained were obsolete, worn out, clogged with disillusion. Yet the moments were not, a few rich ideas still lying around carrying the seeds of a possible renewal.
I watched them long enough, soaking up their past, my past, their failure. I built a new context, a new skin, a new mobility. Their diversity became homogeneous, their immediacy went beyond their history, their presence became the present. Their past has become the future. These are concrete, diverse and of course winter moments. Their multiplicity of origins and treatments is their characteristic: various sources, various states, alternations, tributes.
This work is dedicated to all those who made possible these non-musics and therefore, these moments.

Summer Band (1996), 15'

For bandoneon and tape - In memory of Carlos Iraldi, Luthier of sounds.

This work is not a tribute to the music of my country, which does not need it at all, but a tribute to the sound of my country.
The bandoneon* being as Argentinian as the polka can be, that is to say of European origin—despite the local belief that the magic of the inhabitants of the country has invented everything that makes its originality; it is not either to the sound of the instrument that the work is dedicated but to the breath of the one who grabs it. To those who bring out of this portable fixed-register organ a sound of incomparable beauty, a sound charged with the incredible fascination of crossed rhythms and “firuletes”.
A sound which in its bitterness and finesse contains the power to instantly evoke, like a forgotten perfume, all the essence that is at the heart of the spirit of Buenos Aires, place of functional transmutation of this German instrument which has become the soul of the expressiveness of tango.
Composing acousmatic music with it is another story, the bandoneon thus opens up to a new destiny, to its projected sound, to its frozen breath. And this is its power, despite the countless transformations of the studio, its breath remains, unaltered, always powerful, being able to merge with the breath, very much alive this one, of Juan José Mosalini.