ABSTRACT
Space has always been a part of music; however, the generalisation of the Italian-style stage, which went hand in hand with the birth of tonal music, has neutralised it. That is why the modern history of composed-space began with orchestral writing of the 19th century, continuing in crescendo with Ives, Varèse, Stockhausen, Xenakis, Nunes, electroacoustic music, ambisonics, wave field synthesis etc. and, at the present time, giving rise to a very high number of realisations whether technological or artistic. There is also, alongside this history, a history of space as a tool of representation, where space constitutes a new operating category, allowing for thinking, composing and listening to music. These two complementary histories allow for developing the sound-space hypothesis: the emergence of sound is also emergence of space; the types of today's music are not only sound-based but are also soundspace-based. The latest musical evolutions in the emergence of sound certainly justify that the history of sound-space be pursued in order to include here discussions about relations between music and architecture, about realisations in terms of sound installations and ‘audible ecosystems’, about music of soundscape-based composition stemming from acoustic ecology, field recording or sound walks.
