In 1958, Industrias Kaiser Argentina (IKA), whose headquarters were in the province of Córdoba, launched the I Salón IKA [1st IKA Salon], whose goal was to create greater exposure for local artists and their work. The Salon was originally limited to artists from Córdoba, but in the four subsequent editions the scope was widened to include artists from other provinces as well. In 1961, IKA decided to expand the parameters of the event, and organized an international biennial painting contest. These Latin American Art Biennials were not only promotional vehicles for IKA, they were also an expression of the company’s Pan-American policy, endorsed and promoted by the OAS through the Visual Arts Unit headed by José Gómez Sicre (1916-91). Beginning with the 2nd Biennial, the organizers presented other events that ran concurrently with the international contest. These events were referred to as “parallel acts” and included exhibitions, lectures, workshops on a variety of disciplines, and so on. Though essentially part of the overall Biennial experience, they took place in other parts of the city. During the 3rd Biennial, the Centro de Arte Experimental de la Escuela de Artes de la Universidad de Córdoba [Center for Experimental Art of the University of Córdoba’s School of Arts] presented the First Experimental Music Workshops. The objective of the workshops was to showcase the work of Latin American musicians, spotlighting not just individual development, but the response of composers of the continent to their colleagues’ work in musical expression with a variety of media and materials. Certain schools, though contemporary, were excluded because their rules and standards reflected the music of the past. Similarly, other forms of music that may at one time have been considered original were excluded on the grounds that, within the context of the workshops, they were now considered classical. A symposium was organized within the framework of the workshops, and concerts were presented to introduce works by a number of participants that showcased the advances being made in contemporary Latin American music. This document is the invitation to attend the workshops scheduled for October 12, 15, 16, and 19, 1966, at the Cine Centro República, in Córdoba. Many Argentine and international musicians took part in the workshops, including Horacio Vaggione, Virgilio Tosco, Carlos Ferpozzi, Pedro Echarte, Graciela Castillo, Oscar Bazán, César Franchisena, and Ornella Ballestri representing the University of Córdoba’s Centro de Música Experimental; Edgardo Cantón, a musician from Córdoba who was living in Paris (a member of the Groupe de Recherches); Jorge Arandia Navarro, César Bolaños (from Peru), Mariano Etkin, Miguel Ángel Rondano, and Gerardo Gandini representing the Centro Latinoamericano de Música Experimental (CLAEM); Juan Carlos Paz, Nelly Moretto, and Mauricio Kagel from Grupo Nueva Música; Antonio Taurillo and Armando Krieger representing the Teatro Colón; and Francisco Kröpfl from the Instituto de Fonología Musical [Musical Phonology Institute] at the University of Buenos Aires. The guest list also included Mario Davidowsky and Alcides Lanza, two Argentines living in the United States, recipients of grants from the Center for Electronic Music at Columbia University and Princeton University in New York, and Valdimir Ussachevsky, director of the center; Hilda Dianda and Aurelio de la Vega, Music Department of the San Fernando Valley State College at Northridge in California; the North Americans Herbert Brunn, Salvador Martirano, and Lejaren Hiller, Experimental Music Studies at the School of Music at the University of Illinois; Gordon Mumma, Cooperative Studio for Electronic Music at Ann Arbor in Michigan; Gerald Strang, Music Department, California State College at Long Beach; Edgar Valcarcel (from Peru), Hunter College in New York; José Vicente Aznar, Laboratorio de Fonología Musical [Musical Phonology Laboratory] in Caracas, Venezuela; Morton Feldman; and Christian Wolf. Ernst Krenek, from Germany, was invited. The workshop organizers received the material sent by John Cage (1912-92), the experimental musician from the United States and musical director of the Merce Cunningham Dance Company in New York. The North American Earle Brown, with the Group de Recherches in Paris, also attended.