It wasn’t until the decade of the 60’s that there was a significant development of contemporary music in Mexico, owing to the creation of the Taller de composición directed by this same composer. From this workshop, composers like Mario Lavista, Francisco Nuñez, Héctor Quintanar and Julio Estrada emerged, who assimilated the newest serial techniques imported from Europe, the aleatory music techniques, and who acquired increasing interest to the new sonorous languages emerging from technical development

The seventies saw the emergence of the experimental group Quanta6 , which incorporated in some of their music live electroacustic manipulations. Furthermore, Héctor Quintanar was interested in composing by way of performing and manipulating synthesizers alive. He also organized a seminar centered in electronic music with the participation of national and international composers at the University of Mexico (UNAM) in 1974.

Other composers that decided to escape the academic stasis in Mexico by way of undertaking electroacustic music studies in foreign countries soon joined the indisputable pioneers of electroacustic music in Mexico. This is the case of Javier Alvarez , and a couple years later Manuel Rocha Iturbide (b. 1963), Antonio Fernandez Ros (b. 1961), Guillermo Galindo (b. 1960) and others that are part of the first generations that received an academic education in the field of computer music13.