Our past is rooted in the coexistence of three cultures: Arabic, Christian and Sephardic. However, the influences that forged our history went beyond them. The curious spirit of the ancient world was reflected in the development of routes to Asia and Africa, and later America and Oceania, traversed by explorers, pilgrims, warriors, preachers, settlers and traders, thus forming an extensive network of cultural exchange that shaped a rich and complex historical landscape.


In this sense, is born with the idea of vindicating the presence of the early music of written tradition of other countries. Our intention is to open the door to the universalization of the concept of early music to include also other cultures, cultures that offer an abundant academic material that makes possible a rigorous research work.


is based on the conviction that the inclusion of early Chinese music in historical music circuits can be a pioneering and enriching initiative due to the beauty and abundance of its musical works, the existence of innumerable collections that compile them, and the systematization of theoretical treatises by the Imperial Department of Music over two thousand years.


For all these reasons, we believe that the discovery of early Chinese music can be a satisfying experience for critics, specialized listeners and the general public. Our projects often span the Sino-European sphere, investigating the historical relationships between the two traditions.


The name is born with this all-embracing spirit, taken from the term zhugongdiao 诸宫调, a genre that emerged in China at the end of the 12th century as a musical show, narrated and sung, in which different musical forms alternated. We have chosen the archaic form "ayres" as an expression of encounter with early Western music.