Artes Escénicas y Teoría General de Sistemas. Relaciones entre música y coreografía
Alpuerto, Madrid, 2013.
Soft cover, 460 pages, 18 x 28 cm, 253 illustrations, 51 tables & 43 diagrams. ISBN: 978-84-381-0476-7
ISBN: 978-84-381-0476-7

Summary of the book Artes Escénicas y Teoría General de Sistemas.
This book examines and justifies the need for a new model of multidisciplinary analysis based on the General Systems Theory. The integration of new audiovisual technologies and sophisticated lighting systems into the performing arts has stimulated a debate, which underlines the need to develop studies dealing specifically with this matter from a multidisciplinary viewpoint. The main contribution of this work, in addition to providing a new classification of the relationship between music and choreography, is to offer an analytical model possessing the property to generate measurable values. The research methodology is applicable to the performing arts and, through the use of regular parameters, makes it possible to present quantifiable data, rather than merely descriptive and subjective, within the context of an academic investigation.

The methodology is based on the concept of “complex structure” and on the consequent application of the General Systems Theory, developed by Ludwig von Bertalanffy (1969). By means of this the performance work is viewed as a “system” and the various disciplines involved as “subsystems”, united through a series of “functional relations”. This “system” can be both open and closed and it is practicable for it to be studied as a whole. The model is supported by the use of various graphs which make it possible to represent visually at which moments, to what extent and with what intensity the aforementioned relations are produced. In addition, other diagrams make it possible compare and contrast data from different performance works and from different versions of the same work.

Studies of three choreographic productions by Jiří Kylián are included as examples at the end of the book in order to quantitatively illustrate the result of applying this analytical method.

La práctica artística como investigación.
Propuestas metodológicas

Alpuerto, Madrid, 2012.
Preface by Fernando Hernández Hernández
Soft cover, 121 pages, 17 x 24 cm, with 28 diagrams.
ISBN: 978-84-381-0459-0

Summary of the book La práctica artística como investigación.
This book presents a new approach for those students, lecturers and other professionals interested in researching the process of artistic creation. It provides academic tools and evaluates strategies which can serve as a guide during the investigation-creation process. Also included are a specialist glossary and an up-to-date bibliography on the topic.

Music in the Age of the Pyramids
Centro de Estudios Egipcios, Madrid 2001

First Prize 2002, awarded by the Spanish Ministry of Education, Culture and Sport to the Best Scientific Book. Available in both English and Spanish editions. Hardcover clothbound, 495 pages on couché matte paper, 24 x 30 cm, with 108 photographs and 104 illustrations.

During the research more than 4000 photographs of instruments and reliefs were taken, hundreds of millimetric plans and drawings made, and information collected through digital recordings of the folklore and popular instruments of the Nile Valley, particularly in the Western Oases and in Nubia. Replicas were also made of some of the instruments conserved in museums in order to observe their performance characteristics and sound qualities. The most important of these were the reconstructions, based on fragments conserved in museums and on the detailed iconography, of two Old Kingdom curved harps. (Thanks to sponsorship from Sony España).

The first volume of this work on the music, the musicians, the culture, the iconography, the dance and the musical instruments of the Predynastic Period and the Old Kingdom discovers the importance of music in Ancient Egypt and its relationship with the arts, the science and the thinking of those times. It also reveals the possible influence of Ancient Egyptian music on the Greek theorists and on Western and Middle Eastern liturgical chant.

Many of the photographs are of previously unpublished objects, instruments and music reliefs. The 104 high-quality drawings give millimetric plans of the Pharaonic musical instruments used 5000 years ago and also reproduce virtually all the music scenes found in the necropolises of Giza, Sakkara and in the provinces.

Included for the first time ever are a glossary of Old Kingdom music terms and a selection of thirty hymns from the Pyramid Texts, reflecting their different musical forms: recitational, antiphonal, responsorial and alleluia. They are presented in hieroglyphic script, together with a transliteration and translation made by José María de Diego Muñiz.

Where to buy?
Librería El Argonauta
C/ Fernández de los Ríos, 50 28015 Madrid Telf.: 915 43 94 41


Music in the Age of the Pyramids (2001)
Natural Acoustic Recordings

The CD, Music in the Age of the Pyramids, represents the first attempt at a reconstruction of the music of Ancient Egypt.

NAR-0010-01, con libreto en español e inglés.
NAR-0010-02, con libreto en francés y alemán.

The research carried out by Rafael Pérez Arroyo has led to the identification of a series of responsorial and antiphonal hymns within the body of Pharaonic liturgical texts. This, together with a precise phonetic reconstruction of the Ancient Egyptian language made byJosé María de Diego Muñiz and the author’s detailed study of the legacy of Coptic and Ethiopian liturgical music, has made possible this first attempt at reconstructing the music of Ancient Egypt.

For the first time, replicas of ancient Pharaonic musical instruments reconstructed during the research were used in this recording. Among them are replicas of various flutes conserved in the Egyptian Museum, Cairo, two Old Kingdom curved harps which vanished 4000 years ago (reconstructed thanks to sponsorship from Sony España), clappers (the forerunners of castanets), frame drums and rattles.

All of this has resulted in a recording of great beauty which recreates the sounds of the Ancient Egyptian scales and the meditative nature of a repertoire unrevealed until today. It is performed by the Hathor Ensemble, conducted by Rafael Pérez Arroyo.

The Hathor Ensemble is comprised of singers and instrumentalists of different nationalities: Bulgarian, Chinese, Spanish, Georgian, Japanese and Russian. These musicians come from places where there is continued use of particular tuning methods, ancient vocal techniques, and percussion, wind and string instruments similar to those used in antiquity.


Where to buy?

Distributed by Discmedi
Ronda del Guinardó, 59 bis, baixos
08024 Barcelona
Tel: 93 2849516

Librería El Argonauta
C/ Fernández de los Ríos, 50 28015 Madrid Telf.: 915 43 94 41

Also available in “La quinta de Mahler”

NAR-0010-01. El CD se presenta en digipak, con un libreto de 56 páginas en color en inglés-español o francés-alemán.


In the field of music recordings directed by Rafael Pérez Arroyo particularly noteworthy are twenty-two CDs of early Spanish music made for Sony-Classical between 1995 and 1998, and nine others from 1995 to 2002 for Sony España in collaboration with the Escuela Superior de Música Reina Sofía in Madrid. In 2003 he also made the first recording in Spain using new DSD technology for the new Super Audio CD format in collaboration with the Escuela Superior de Música Reina Sofía. This was followed by six others in the period up to 2008

1995 – 1998
22 CDs of early Spanish music for Sony Classical as part of the Serie Hispánica, 1995 – 1998.

8 CDs from 1995 – 2002 for Sony España, S.A. in collaboration with the Escuela Superior de Música Reina Sofía, using PCM technology.

2003: First recording in Spain using the new Super Audio CD technology for Sony España, S.A. in collaboration with the Escuela Superior de Música Reina Sofía, using DSD technology. Further recordings in 2004, 2005, 2006, 2007 & 2008


“Educación musical auditiva para bailarines y actores”, II Congreso de Investigación y Educación Musical 2012, URJC.

Melodías para ordenar el mundo”, Geo, nº 196, (Mayo 2003), pp. 56-65.

La música en la era de las pirámides”, Jano. Medicina y Humanidades, Vol. LXIV, nº 1.461, (Enero-Febreo 2003), pp. 62-65.

Los Instrumentos musicales en España durante el período 1450-1600, en: Historia de la música española 2. Desde el ars nova hasta 1600, Samuel Rubio, Alianza Editorial, Madrid, 1983, pp. 279-290.

Educación musical y computadoras”, Revista Ritmo, Año LV, nº 551 (Enero, 1985), pp. 12-13.

El sintetizador: el instrumento de la era audiovisual”, Revista Ritmo, Año LIV, nº 542 (Marzo-Abril, 1984), pp. 12-16.

La trágica historia de un quinteto”, (Estudio crítico sobre los Stradivarius del Palacio Real de Madrid), Revista Ritmo, Año LIII, nº 532 (Abril, 1983), pp. 28-30.

El Director de Orquesta como especialista”, Revista Ritmo, Año LIII, nº 530 (Febrero, 1983), pp. 12-15.

Los instrumentos renacentistas de la Catedral de Salamanca: Cromornos y Bombardas”, Revista de la Sociedad Española de Musicología, Vol. VI (1983), núms. 1- 2, pp. 373-422.

Importante descubrimiento de instrumentos renacentistas en la Catedral de Salamanca”, Revista Ritmo, Año LII, nº 525, (Septiembre, 1982), pp. 34-36.

Una vihuela de arco y un bajón del Convento de la Encarnación de Ávila”,
Revista de la Sociedad Española de Musicología, Vol. III (1980), núms. 1- 2, pp. 235-259.

Arpas Renacentistas españolas de dos órdenes”, Revista de la Sociedad Española de Musicología, Vol. II (1979), núm. 1, pp. 89-107.