Diretor Artístico do Studio PANaroma de
Música Eletroacústica da UNESP/FASM
Av. Lavandisca, 52 - apto. 74
04515-902 São Paulo - SP
Tel.IFAX: +55 11 2412401
This article intends to demonstrate that there was in the history of the ten carly years of the electroacoustic music a transference of importance from the attack to the sustain of the sounds. It was only after this transference that the compositional thinking were in absolute convergence with the electroacoustic means. On the other hand, one can see that the instrumental music is more propense to the organization of the proportions between the very beginning of the sounds (their attacks) than to the extension of the sounds in time, so that a more accurate perception of the spectral qualities is more realizable in the electroacoustic music than in the instrumental one. This factor doesn't mean that one will abolish the another. Just on the contrary, it seams that the confrontation between both worlds can generate very interesting results regarding the perception of the inner textures of sounds. However, both the instrumental composition and the electroacoustic music can only produce good and permanent works if they are the result of an arduous elaboration of time and spectral structures.