PAULINE ROBERTS
vibraphone | drums | vocals


NEW MUSIC FOR VIBRAPHONE AND ELECTRONICS

Nuevas Músicas para Vibráfono y Electrónica is a solo project by percussionist and composer Pauline Roberts, commissioned with support from the Creation Grant (2019) from the National Fund for the Arts (Argentina). Driven by a desire to expand the repertoire for solo vibraphone in contemporary percussion, Roberts set out to push the instrument’s boundaries and enrich the production of new scores in this field.
Alongside her own original work, the album features commissioned pieces by Facundo Negri, Esteban Insinger, and Evelyn Frosini, each bringing a unique perspective to the sonic possibilities of the vibraphone. This project thrives on the dynamic collaboration between composer and performer, incorporating vocal and improvisational elements—a distinctive departure from traditional solo percussion repertoire.
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With individual pieces ranging from 4 to 12 minutes, the album offers approximately 35 minutes of music. Rooted in an experimental yet deeply expressive approach, Nuevas Músicas Para Vibráfono y Electrónica reimagines the vibraphone as both a percussive and melodic force, inviting the listener into a texturally rich and emotionally evocative journey of movement.
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Having performed this repertoire internationally—in Panama, Argentina, Canada, Australia, and the U.S.—Pauline has now released it as her debut solo album, available on all digital platforms as of February 25, 2025.
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To further emphasize the album’s Argentine identity, Pauline commissioned artist Elena César to create the cover artwork, ensuring a cohesive national aesthetic for the project.
For more information or for bookings, please contact us through the contact section of this website or send an email to paulialana@gmail.com
ABOUT THE PIECES
18 de Diciembre - Pauline Roberts
"18 de diciembre" was born from the unique coincidence of Argentina winning the World Cup on my birthday. Experiencing that historic moment while already settled in New York made the celebration blend with a deep sense of nostalgia. The piece, a sort of lullaby for Argentinians, merges sung voice and vibraphone acoustically, while the electronics process orchestral percussion sounds, match commentary, Argentine interviews, and echoes of feminist struggles, along with a spoken text of my own that reflects my thoughts on Argentina from afar.
The intensity of that match made me see the perseverance of Argentinians—a strength I also found in New York. That’s why my narration is bilingual, building a bridge between both cities.
Canción - Facundo Negri
A song is the perennial scar of the cosmogonic becoming. Unforgettable in its depth. Painful at times. Ambiguous in the trace it leaves on us, though it once pierces to the bone and there it lingers. In dreams. In memory. In what is yet to come.
CANCIÓN is our way of freezing, within the countless particles of existence, our story. It depends on you, listeners, to bring it back to life. Do not forget us.
Dedicated to the children of the world.
Sonando - Elena César (Album Art)
I was born in a city by the sea. The sky and horizon would shape my destiny as an artist. But it is in the big city—Buenos Aires, where I now live—that longing would give strength to my strokes. The search, the repetition, the persistence.
In my work, there is atmosphere, emptiness, or the dance of waves. I let myself be carried away; memory composes, like a distributive essence guiding my hands as I paint or tear paper. Always. There is always music and dance. In a resonant solitude.
Var. 366 - Esteban Insinger
What is static and the vibrating oscillation structure the piece. Var.366 uses vibrato as oxygen to expand itself in time (the body) and survive its material. It modifies its (rhythmic) relationships and multiplies its durations. At first, it was a piece for piano (https://insingermusicaldiary.bandcamp.com/track/14-sep-19), and its end is undetermined.
Something Around - Evelyn Frosini
This piece transforms the vibraphone into a hyper-instrument, expanding its resonances beyond its physical soundbox. The electronics act as an extension of the instrument, stretching its echoes and intertwining sonic trails that generate new resonances and subtle beatings in space.
The sound multiplies, folds in on itself, and dissolves, creating an immersive landscape in constant transformation. Its echo expands, blurring the sound source and giving the impression that the instrument unfolds everywhere, dissolving the boundaries between origin and atmosphere, between matter and reflection, and evoking the presence of other sonorities floating around.
The title, Something Around, directly alludes to this sensation: a music that surrounds the listener, creating the illusion of diffuse presences emerging and fading within the space.


PROJECT ITINERARY
01
Premiere in New York City: Pauline Roberts's Master's Graduation Recital (MMPC- The New School). May 11, 2023.

03
Argentina Tour: The full concert was presented at the Borges Cultural Center (Buenos Aires). Composers Esteban Insinger and Facundo Negri were present. August 27, 2023.


02
"Canción" by Facundo Negri was selected to be performed live at the Parsons Gala 2023, held at the Cipriani Wall Street in Manhattan. (special guests included Olivier Rousteing, Naomi Campbell, Cara Delevigne). May 24, 2023.


04
Thanks to the invitation of professor Julián Rulo, "Var. 366" by Esteban Insinger and "Canción" by Facundo Negri were also presented at a Masterclass at the Julian Aguirre Conservatory. August 29, 2023.

05
PASIC 2023: "Canción" by Facundo Negri was selected to be performed under the "New Music Research"concert, curated by Louise Devenish and Fabio Oliveira. PASIC is considered the world's largest percussion convention. November 9, 2023.
06
Panamá: Thanks to the invitation from Professor Carlos Camacho, the project was performed at the Universidad de Panamá, alongside a Q&A. Facultad de Bellas artes. February 16, 2024.


07
Nublu NYC: The project was performed at Nublu, an iconic venue of the city. The bill was shared with Dawn Drake's 8-piece band. May 22, 2024. At this time, Pauline was preparing the recording of the album.


08
Marimbafest; Perth, Australia: Curated by Adam Tan, Pauline was a faculty member at Marimbafest, the largest marimba festival in the southern hemisphere. She has performed, given masterclasses and judging the festival's marimba competition. June 30th to July 7th, 2024.



09
Melbourne, Australia: Thanks to the invitation of Olivia Jones (see previous collaboration here), the album was also performed at the Percy Grainger Museum. July 12, 2024.

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Album Recording; Brooklyn: Recorded by Santiago Herrera at Santiago Herrera studios, Pauline was finally ready to hit the REC button. In addition to Santiago's microphones, the microphones acquired from the Go Fund Me campaign were used. August 27-29, 2024.

COMPOSERS

PAULINE ROBERTS-Composer of 18 de Diciembre
Pauline Roberts is a New York-based percussionist, singer, and composer transforming her classical percussion and avant-garde jazz training into experimental pop. Originally from Buenos Aires, she’s the first woman in 18 years to graduate from Argentina’s National University of Arts in percussion and later earned her MM Performer-Composer degree at The New School (NYC).
With support from the National Arts Foundation (AR), she commissioned new works for vibraphone and electronics, culminating in her debut solo album, Nuevas Músicas Para Vibráfono y Electrónica, released on February 25, 2025.
Pauline has toured her album and led masterclasses across the US, Canada, Argentina, Panamá, Honduras, Perú and Australia, serving as faculty at Marimbafest 2024. She has also performed at PASIC 2023 and the Parsons Benefit Gala(2023), and premiered an original work at Sweetwater Studios. A two-time Hit Like a Girl finalist and LATAM ambassador, she has collaborated on numerous recordings, including Billy Martin’s La Gran Seducción soundtrack.
She is the percussionist for The Furious Bongos, a touring Frank Zappa cover band that features Chad Wackerman—one of Zappa’s original drummers—as a recurring guest. Her interpretation of The Black Page #1 led to an interview with Frank Zappa’s archivist. Amongst other collaborations, she is also the vibraphonist and timbal sub for Lulada Club, NYC’s all-female salsa band featured in Rolling Stone.
Pauline is sponsored by Marimba One, BlueHaus Mallets, and TRX Cymbals.
+ info at this very website.

ESTEBAN INSINGER-Composer of Var.366
Esteban Insinger (b. 1974), composer and pianist, holds a degree in composition. His works have been performed throughout the U.S. , Europe and Latin America, they mix traditional language, technology, and 21st century techniques. He co-founded Laptork, the first South American computer orchestra. In 2009 he began his project «Musical Diary» which is based on composing a piano piece every day. The “Diary” now has over 5000 pieces which have been played and transformed by different artists around the world.
Insingermusicaldiary.bandcamp.com

EVELYN FROSINI-Composer of Something Around
​Evelyn Frosini (1983) is an Italo-Argentinian composer and sound designer based in Geneva.
Her artistic production includes works ranging from instrumental, mixed and acousmatic music compositions to sound design in audiovisual and multimedia works. Her music has won awards and has been performed in several venues in Latin America and Europe.
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She holds a master degree in multimedia composition at the Haute École de musique de Genève (HEM), a degree in Music Composition at the National University of Arts (UNA) and her diploma in Sound Design at the National School of
Cinematographic Experimentation and Direction (ENERC) in Buenos Aires, Argentina. Winner of the 2018 TRINAC-UNESCO (AR) award in the electroacoustic Music category.
Winner of the 2018 creation grant from the National Fund of the Arts (AR). She has obtained a Special Mention in the Ars Electronica Forum Wallis (Switzerland) In 2021 was jury in the Call for Works of Ung Nordisk Musik (UNM Sweden). Artist in residence in EMS – Elektron Musik Studion (Stockholm), in LIPM – CCR (Buenos Aires), FNOBA – Festival de Nueva Ópera de BsAs (Buenos Aires) and in Teatro Nacional Cervantes (Buenos Aires).
Her compositions have been selected and programmed at ISCM – World Music Days (Estonia), BIFEM (Australia), MIXTUR (Barcelona), Zeppelin (Spain), eviMus (Germany), MA/IN MAtera INtermedia Festival (Italy), MUSLAB (Mexico), MUTEK (Argentine/Canada), SPECTRA V2 (Colombia), OUA EMF (Japan), Tehran International Contemporary Music Festival (Iran), CROSSROADS Festival (Austria), among others.
Currently, she leads a multimedia music ensemble project at the PULSE HES incubator in Geneva, specializing in collaborative ventures across diverse European projects
+ info: www.evelynfrosini.com

FACUNDO NEGRI-Composer of Canción
​Musician. Buenos Aires, 1990.
He holds a degree in composition with electroacoustic media from the National University of Quilmes. He studied composition with Marcos Franciosi, Santiago Santero, and conducting with Luis Nesa.
His music has been featured in Sweden, the United States, Portugal, Spain, Hong Kong, Israel, Chile, Brazil, and in Argentina's most prestigious music cycles.
He has received various awards, including the 2018 Juan Carlos Paz National Composition Award for his work for symphony orchestra titled "Last night, the shadow returned once again," and honorable mentions for artistic quality in the "Toru Takemitsu Composition Award 2019" and "Revolte II Kommas Ensemble Composition Award 2020."
His compositions have been performed by national and international soloists such as Horacio Lavandera, Pauline Roberts, Santiago Kushnir, Ska Cuturrufo, Florencia Barrientos, Ignacio Corrales, Haydeé Schvartz, among others.
In 2019, he was awarded a scholarship by Mozarteum to pursue a Master's degree in "Performing Arts with Specialization in Contemporary Performative Arts" at the University of Gothenburg in Sweden.
His catalog of works, published by Babel Scores, includes pieces for chamber ensembles, compositions for solo performers, music for symphony orchestra, two re-versions of opera repertoire, a ballet, site-specific installations, and a series of multimedia works.
As a solo performer, he has premiered works by Michel Van der Aa, Viet Cuong, Robert Honstein, Michael Pisaro, Salvatore Sciarrino, Helmut Lachenmann, Gerard Grisey, György Ligeti, Bernd Alois Zimmermann, Peter Maxwell Davies, among others.
He resides and works as a musician, composer, and musical director in Buenos Aires. Currently, he is a lecturer in the field of Applied Informatics in Composition at the National University of Lanús.
https://soundcloud.com/facundonegri

ELENA CÉSAR-Album Cover Artist
Elena César, from Mar del Plata, is a visual artist and teacher. In Buenos Aires, she attended workshops by Tito Pérez, Victor Chab, and Kenneth Kemble. She participated in artistic clinics with Laura Messing, Norberto Marcet, and Lucía Warck Meister. Her early paintings prominently feature the horizon. She has exhibited in various events including the Manuel Belgrano Salons, the Fortabat Prize, and the Deloitte Foundation Prize. With the support of the Argentine Ministry of Foreign Affairs, she has showcased a significant portion of her work in Switzerland. After traveling along the North Sea coasts of Belgium and the Netherlands, oceans began to appear in her works: vast beaches and misty skies. Between 2012 and 2014, she exhibited in Buenos Aires, Art Palm Beach, and MIA Art Gallery. Alongside her teaching duties, she experiments with different materials, aiming to reduce pollution by using recycled papers, wrappers, and remnants of old paintings. Her collages convey information, the transition of energy into action, within a vibrant space of timelessness.
She lives and works in Buenos Aires.
ALBUM COVER ART

CREDITS
Executive Producer: Pauline Roberts
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Compositions: Pauline Roberts - 18 de Diciembre; Facundo Negri - Canción; Esteban Insinger - Var.366; Evelyn Frosini - Something Around
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Vibraphone and Voice: Pauline Roberts
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Recording Engineer: Santiago Herrera (Santiago Herrera Studios)
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Mixing and Mastering: Esteban Insinger
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Cover Art: Elena César
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Cover Art Photography: Malena Mastrangelo
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Photography of the Back Album Art: Connor Gates
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Graphic Design: Nancy Hu
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Recorded as a Marimba One and BlueHaus Mallet Shop artist, using a One Vibe by Marimba One and custom mallets by BlueHaus.
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The creation of these works was made possible thanks to the ‘Beca a la Creación’ from the Fondo Nacional de las Artes (AR). Additionally, the production and recording of the album were funded through the generosity of the donors from the GoFundMe campaign titled ‘Help me launch my debut Solo Album: Nuevas Músicas Para Vibráfono y Electrónica.’: Alexandra Sullivan, Justin Nurin, Jonathan Poslosky, Andrew Nacin, Jessica Tenny, Barbara Poslosky, Katharine Kates, Nathan Chamberlain, Fran Day, Xiang Shi, Samuel Zagnit, Jamie Van Der Zee, Gary Griffith, Jaeeun Lee, Jie Ling Ngo, Chien Chien Lu, Connor Gates and all that contributed anonymously.
ALBUM CREDITS AND GRATITUDES
GRATITUDES
I would first like to express my deepest gratitude to everyone who has shown support and good energy for this project.
I want to continue by thanking the incredible Esteban Insinger, whose unwavering support has been a constant throughout this entire journey. Esteban, your dedication to mixing and mastering this album, along with your belief in me since I was nineteen, has meant the world. You were the first to bet on me, and your encouragement continues to shape my path.
Your influence, both as a composer and collaborator, has been invaluable. Your advice to apply for the grant that allowed me to commission the composers was crucial in bringing this project to life. And, not to mention, your piece absolutely rocks!
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I also want to thank the composers who brought this album to life—Facundo Negri, Evelyn Frosini, and Esteban Insinger.
Facundo, thank you for not just capturing my musical tastes but for reminding me of them in the most beautiful way possible. You saw the vision so clearly, and honestly, I don’t think I could’ve written a piece that felt more like me. Thank you for sharing the story of your daughter—through "Canción,” we dedicate this to the children of the world.
Evelyn, your curiosity about my instrument (and its creative possibilities with electronics!) completely blew my mind. The time we spent together before writing a single note was pure gold, and it has influenced how I see my own music.
Thank you all for your patience and belief in me through your incredible music.
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A special thank you to Elena Cesar for not just recognizing me as an artist, but as a human being from day one—and for turning that into the magic of her cover art. Talking with you felt like family. I’m beyond grateful to Nancy Hu for not only designing the amazing album cover but for supporting me with her kindness and generosity, including looking after Canela like a pro.​ Thank you to Malena Mastrangelo, who offered her time and camera to take the photo for the cover artwork. Malena has been a constant in my creative journey, directing my video clips and supporting me through my transition to New York City. Her continued friendship, even from across the continent, means so much to me.
To my parents, thank you for your unwavering support. You've inspired me to recognize that hard work always pays off-no, matter how much something takes. Dad, thank you for helping carry my vibraphone to the studio and for your daily encouragement (literally). Do you know how much these small, consistent acts of love mean to me? I love you papuch. Mom, your advocacy for me to pursue my dreams and keep going has been a constant source of strength. Your support for me since being a teenager that wanted to drop/finish school and do music the rest of her life is so special and continues to be special, I love you so much.
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Special thanks to Patricia Brennan, Ian Rosenbaum, and Billy Martin, whose guidance has been instrumental in my growth. Patricia, you’ve helped me connect emotionally and technically with the vibraphone in ways I never thought possible. Ian, you’ve taught me the importance of detail and listening. Billy, you’ve opened my expression in improvisation and showed me that success and humanity in the music industry can go hand in hand. I can’t thank you enough.
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A massive thank you to my dear friends from Argentina—Melina Ledesma, Ludmila Buci, and Amalia Guerrero. From the very beginning of this project, you’ve been by my side through all the ups and downs of creating this album over the past five years—listening to the first drafts, understanding my vision, and everything in between. Your love and support have kept me going, and I couldn’t be more grateful.
To my best friends here in New York, Samantha Kochis, and Adhya Tibrewala—thank you for being my emotional and musical pillars throughout this journey. In a city full of chaos, your friendship has been a guiding light. Adhya, your invaluable input on the cover art design and your aesthetic vision have been incredibly impactful. Thank you for always being there for me.
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Thank you to Selendis Sebastian Alexander Johnson, Asher Herzog, Samantha Kochis, and Ethan Cohn for helping me film the visuals for this album. A huge thank you to Clara Díaz and Adele Fournet for teaching me everything I know about video editing, and to Ethan and Alvin Shi for generously lending me their cameras to make it happen. Thank you to Hans Young Binter, Sam Zagnit, Jen Martinez-Bre, Nick Saia and Julieta Iricibar for giving me your input throughout the process too. Beyond this project, each of you has supported me as friends, colleagues, and mentors in countless small but meaningful ways along the way, and I’m deeply grateful to have you in my life.
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I would also like to thank the following people who supported me through my GoFundMe campaign: Alexandra Sullivan, Justin Nurin, Jonathan Poslosky, Andrew Nacin, Jessica Tenny, Barbara Poslosky, Katharine Kates, Nathan Chamberlain, Fran Day, Xiang Shi, Samuel Zagnit, Jamie Van Der Zee, Gary Griffith, Jaeeun Lee, Jie Ling Ngo, Chien Chien Lu, Connor Gates, and everyone who contributed anonymously. Your generosity and belief in this project have helped make it a reality.
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I want to dedicate this album to my dog, Canela, and her two ancestors, Gremlin and Agatha. When this album is released, Canela will be nearly 14 years old—meaning I’ve pretty much grown up with her. She is the last in a lineage of beloved dogs in our family: Gremlin (Canela’s mom), in her later years, would walk across the patio and curl up under the vibraphone just to listen to me practice—a habit Canela has recently picked up. And Agatha (Gremlin’s mom) would always give me kisses whenever I played music. Their love has been constant, unconditional, and pure—the kind of love I hope to one day embody as a human. I am so grateful to have had them by my side throughout my journey.
And finally, to my partner, Santiago Herrera—drumming wizard, creative and producing genius, and probably the hottest human alive. You are an unending source of belief in me, especially when I begin to doubt myself. Your support—through the time and space you offered to record this album, and most of all, your love for my humanity (both in and beyond my art)—has been more valuable than you could ever know.
From the moment we met, you have always encouraged me to chase my dreams and “conquer the world.” Thank you for adding beauty to my process and even more meaning to the end result. Something I’ve come to realize is that nothing I accomplish alone will ever be as valuable as what I can share with the ones I love—and I happen to love you (just a little, you know?). I share this victory with you, mi amor, and I hope we can continue conquering the world side by side.