The second half of the twentieth century saw musical creation – that inspired by the great European symphonic tradition – shut itself away in the laboratory to dismantle music note by note, and even penetrate sound thanks to new electroacoustic and computer technologies.
While creators were playing the sorcerer’s apprentice, delivering their often austere works of research to an increasingly confined audience, musical production was exploding all over the place, propelled by the communications industries. Music, all music, in an incredible multiplicity of encounters where popular music, more learned music, world music, “musique actuelle”, music that gets closer to the listener, tries to seduce with all the artifices of media communication and sound techniques.
What happens to the creators, the so-called composers, in this global melting pot? Are they definitively excluded, anachronistic, or will they reappear, the impetus for new ideas, renewing the thread of history between a prestigious symphonic heritage and the discoveries of the laboratory, instigating a more fundamental reunion with all music?