What is communicating for an electroacoustic music composer?

What about the representation of communication and the resulting practices by composer of electroacoustic music?

He is today considered as a communicator, capable of making his works the objects of an increasingly informative discourse with the listener, by exposing and commenting on all the dimensions of his compositional practice.

The composition work is not a linguistic act. Thus, the discourse will focuse on music dimensions considered as less specific, which does not mean that they are insignificant.

The reflexive return on his own speech, during an interview with a researcher (n = 10), is an opportunity for the composer to establish or re-evaluate the links between the questions of composition, of musical significance on the one hand, and those of communication with the listener - the process by which he establishes a relationship with him - on the other hand.

We hypothesize that these links are specific, in the case of electroacoustic music, and at some point in its history.