Composing sound (and giving it shape)

The aim of this paper is to evoke an essential mutation in musical modernity: creation no longer composes with sounds, which laws would animate from the outside; it composes sound. This historical, aesthetic and theoretical perspective will borrow examples from serialism and spectralism, as well as from the work of Helmut Lachenmann and some of his students. Various techniques contribute to this evolution: combinatorics per se, splitting this sound into several dimensions, whose pitch, duration, intensity and timbre denote only a first stage of formalization; new modes of play, including all noisy instrumental productions; spectrograms, sonograms and other digital recordings contributing to a liminalmusic , making the thresholds of perception manifest and playing with them, but also transitory, radicalizing the idea of sound as a field of forces and not as an inert object, and aiming to sublimate its formal becoming. So it's not just a question of composing sound, but of deducing from it the forms of the work.