Juan Sebastián Lach Lau

1440153782 bio js lach
Started in: 2005
End date: 2012
Musician type: composer, keyboard
University: Leiden University
Nationality: Mexico

Juan Sebastián Lach Lau's instrumental and electronic music combines interactive and generative algorithmic processes, microtonal harmonic research and transformations allusive to diverse musics. Also a performer on electronic media, he mostly composes in collaboration with chamber ensembles and soloists.

His music has been played and recorded by diverse groups in several countries, such as Liminar, Ensemble 3, Camerata de las Américas, Cepromusic and Cuarteto Latinoamericano in Mexico; Modelo62, Klang, The Electronic Hammer and The Barton Workshop in Holland; as well as soloists such as Diego Espinosa, Carmina Escobar, Eva Zöllner and Alexander Bruck. His music is edited in compilations as well as in a CD that gathers chamber music with electronics, Islas (Navona, 2013).

He is a member of the National System of Creators in Mexico, has a doctorate in Artistic Research from Leiden University as well as a Masters and Bachelor degree from the Royal Conservatory in The Hague, Holland. Previously he studied composition at CIEM and mathematics at UNAM (Mexico City) and piano since

childhood. He has played keyboards and composed in jazz group Psicotrópicos (1986-92) and rock group Santa Sabina (1991-2001) with whom he recorded 6 studio and 2 live albums and has composed music for theatre, film, radio and cinema since 1987, associated with theater directors David Hevia and Juan José Gurrola. Currently teaches composition since 2008 at Las Rosas Conservatory in Morelia, Mexico.

His docARTES doctoral defense took place on December 13, 2012 at Leiden University.


Harmonic Duality: From Interval Ratios and Pitch Distance to Spectra and Sensory Dissonance.


Dissonance curves are the starting point for an investigation into a psychoacoustically informed harmony. Its main hypothesis is that harmony consists of two independent but intertwined aspects operating simultaneously, namely proportionality and linear pitch distance.