This article explores Julio Estrada's musical thinking in his early and recent works. Estrada's early works precede the development of his graphication method in the 1980s, and his recent works follow the completion of his opera Murmullos del Páramo in 2006. It is his music of these three decades between 1980 and 2006 that is most widely scrutinised – a music centred on the extensive conception and manifestation of sound as a continuum and aided in the creational process by coloured drawings on graph paper – but this article focuses on lesser-known pieces from the 1970s like Melódica and Solo para uno, as well as recent works such as his opera-in-progress, a major project conceived as a book to be read and imagined, rather than performed. It is hoped that close examination of these pieces will significantly broaden the understanding of Estrada's creative drive and lifelong research, revealing how these works entangle with his better-known developments of the sound continuum and graphication method and share common concerns with work from across his career.

中文翻译：

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耳朵是迷宫：寻找牛头怪的胡里奥·埃斯特拉达

本文探讨了胡里奥·埃斯特拉达早期和近期作品中的音乐思想。埃斯特拉达的早期作品早于他在 1980 年代图形方法的发展，他最近的作品是在他的歌剧完成之后穆尔穆洛斯德尔帕拉莫2006 年。在 1980 年至 2006 年这三个十年间，他的音乐受到了最广泛的关注——这种音乐以声音作为连续统一体的广泛概念和表现为中心，并通过方格纸上的彩色绘图辅助创作过程——但这文章侧重于 1970 年代鲜为人知的作品，例如口琴和独奏，以及最近的作品，例如他的正在进行的歌剧，这是一个主要项目，被认为是一本可供阅读和想象的书，而不是被表演的。希望对这些作品的仔细研究将大大拓宽对埃斯特拉达的创作动力和终生研究的理解，揭示这些作品如何与他更广为人知的声音连续体和图形方法的发展纠缠在一起，并与他整个职业生涯中的作品分享共同的关注点.