Models of Sound Representation in Electroacoustic Composition

Musical composition has always been closely connected to the representation forms used by the composer during the creation process. The development of electroacoustic music, and later computer music, has made possible a huge change in such representation forms; enriching the possibilities of instrumental support, helping the development of the theories that describe the sound and its behavior, and widening the possibilities of writing support beyond paper. Such changes have made the composers reassess the relation between the composition process and the technological suppor t transforming both the elaboration of the musical discourses and their interpretation (listening and musical analysis). This paper proposes a discussion about the specific case of sound representation models that are more used in electroacoustic music as active elements in musical composition; aiming to point some of the more used types, and the possible relations of such models with the composition process. 1