Nonetheless, his determination and constant search for the integration of aesthetics in these procedures led him to employ another “model” of composing such as the translation of architectural spaces into music, the application of topology and painting techniques related to perspective or the exploration of the acoustic features of instruments at a micro level.
He explored the possibilities of electro-acoustic music developing, in a self-taught way, through various projects starting with Liturgia de silencio (1995) and continuing with more recent pieces like Snefru or Versa est in luctum (2002).
His interest in investigating the application of movement to the electronic transformation of sound determined him in 2006 to become involved in a multi-disciplinary project promoted by IRCAM Paris whose premiere is scheduled for 2009.
In 2006 Alberto Posadas received a grant from the Casa Velázquez, Madrid, to develop, together with Andrés Gomis, a research project about the new interpretation techniques for bass saxophone and their application to composition.
It was actually abroad, in Belgium, that he received his first award – the Audience Prize for his string quartet A silentii sonitu in the Ars Musica Festival, Brussels, 2002.
Alternatively, he received personal commissions directly from musicians, these pieces amounting to a substantial part of his solo and small ensemble work.
The Egyptian pyramids have been the models used so far for this purpose and this is reflected in pieces like Snefru for accordion and electronics or Nebmaat for saxophone, clarinet and string trio.