Eduardo Polonio is born in Madrid the 5 of January of 1941. After studying the piano and composition at the Royal Conservatory of Madrid, he received his diploma allowing him to teach composition in 1968. The first step in his career was as composer and interpreter for the Grupo Koan (1967-1970). In 1969, he worked for the Alea Laboratory in Madrid and, between 1970 and 1972, he was a member of the Alea Música Electrónica Libre group, the first Spanish electroacoustic music group to play live. He was President of the Asociación de Música Electroacústica de España from 1988 to 1994 and is currently consultant to the International Confederation of Electroacoustic Music as well as a member of the International Academy of Electroacoustic Music. He received the Magisterium at the Grand Prix International de Musique Électroacoustique in Bourges, France in 1994. He is the author of two electroacoustic operas: "Uno es el Cubo" (1995) and "Dulce mal" (1999).
Eduardo Polonio is one of the pioneers of electroacoustic music in Spain. After thirty years of composition and presence, both national and international, on the scene of contemporary music, and specifically in the sphere of new technologies, it is time to recognize his role. He has composed over one hundred works which have been played all over the world. He has coauthored works with multimedia artists such as Eugeni Bonet, Pablo Monedero, Carles Pujol, Toni Rueda, Rafael Santamaría, Santiago Torralba; he has promoted creative groups (Obert-Art Actual, Multimúsica, A.M.E.E., TRIVIO, Diáfano, Cremunute), festivals and professional symposiums (Sis Dies dÕArt Actual, Punto de Encuentro, Ressò, Nuevas Propuestas Sonoras, Confluencias).
He generally interprets his own work in concerts, combining pre-recorded pieces, keyboard and processors in real time, often combined with videos or other compositions in coordination with visual artists.
From many points of view the figure of Eduardo Polonio represents a particular case in the scene of the Spanish contemporary composition. In the Sixties and Seventies it has been an isolated precursor in the generalized use of the average electroacoustics. In the Eighties, its work has represented one of the few meeting points of true spread between contemporary music and the plastic arts. The essential opening to the world of the composer has given rise to a production in which it predominates the musical mestization of sorts and cultures. Deeply taken root in the world-wide conditions of the culture of century XX his music it knows like few to offer footpaths and passages between the multiplicity of our sonorous horizons.