From 1950 until 1956, the adolescent Beatriz Ferreyra studied piano in Buenos Aires with Celia Bronstein. As an adult, she convinced her father to let her go to Europe for further training. In Paris, she joined Nadia Boulanger’s harmony and musical analysis class from 1962 until 1963. However, it was thanks to her compatriot Edgardo Canton that she discovered musique concrète and the avant-garde music associated with the Groupe de Recherches Musicales (GRM), where she was admitted into an introductory course. In 1963, she became involved in the RAI Musical Phonology Studio in Milan, one of the pioneering studios for electronic music, and in 1967, she attended summer composition courses at Darmstadt in Germany with Earle Brown and György Ligeti.

From this period onward, Ferreyra settled in France. Between 1963 and 1970, she worked at the GRM as part of the Office de Radiodiffusion-Télévision Française’s Service de la Recherche, under Pierre Schaeffer. While composing her first acousmatic works, she also collaborated on research projects. Schaeffer assigned her a teaching role in the GRM courses for composers wanting to learn electroacoustic techniques. At the same time, she taught GRM courses at the Conservatoire de Paris and later interdisciplinary seminars at the Service de la Recherche.

From 1970, Ferreyra became an independent composer of electroacoustic music, joining a vibrant musical community during a period of intense creative energy. She attended Bernard Baschet’s instrumental research workshops in Paris and, for over ten years, participated in developing his “Structures sonores” (Sound Structures, 1970). From 1975, she was part of the school for the Groupe de Musique Expérimentale de Bourges (Bourges Experimental Music Group) led by Françoise Barrière and Christian Clozier, both former GRM members. Ferreyra later explored and produced works in music therapy, having been invited to the Department of Electronic Music at Dartmouth College, headed by Jon Appleton, to work on computer-based projects.

In 1972, she moved her Parisian studio to a larger space in the countryside near Rouen, where she could be surrounded by nature.

Ferreyra’s musical universe reflects her strong interest in spirituality, particularly kabbala, as heard in Les larmes de l’inconnu (Tears of the Unknown, 2011), as well as esotericism and alchemy, evident in Un fil invisible (An Invisible Thread, 2009). She also weaves in anecdotes and humor, such as in La ba-balle du chien-chien à la mé-mère (The Ba-Ball from the Dog-Dog to the Mom-Mom, 2001). Memory plays a vital role in her work, especially in Échos, a piece built around recordings of the voice of her niece, who passed away in a car accident.

As a respected composer, Ferreyra has been invited to the jury of the 4^th International Electroacoustic Music Competition of Bourges (1976), the 2^nd Phonurgia Nova international competition for radio and sound creation (Arles, 1987), the International Electroacoustic Music Competition of the Conservatoire Royal de Mons (Belgium, 2000), and the Métamorphoses International Acousmatic Composition Competition of the Musiques & Recherches group directed by Annette Vande Gorne (Belgium, 2000).

In October 2014, she was named Honorable Member of the O.I.M CIME/IMC UNESCO.