It is now admitted that the timbre is the other name for the sound. That being said, how could the concept of timbre, which in the past was only useful for the manufacture of the musical instrument or for the graphic consideration of an acoustic signal, have become so for the overall structure of the musical composition? Can it be acceptable to question the correctness of the use that was made of the word timbre, when it appeared in acoustic science? Moreover, what relationship do the two disciplines of music and philosophy have with each other? And what responsibility could it have in their respective evolutions? In order to answer this last question, we will propose at the end of this study, to gather the notions of timbre and place, in a single notion, in what we will call the « timbre-lieu ». University research memory


We have to think of a difficult idea, which shakes the identity. Jean-Claude Risset, quoting Michel Serres, in his article Timbre and Synthesis of Sounds, reinforces the accuracy of our impression of the existence of a linguistic dissonance that is one of the uses of the word Timbre in music. Academic position paper


 The article presents a reflection on the organization of a method of musical composition for a specific listening as well as on the interest of the creation of a tool allowing the realization of this organization. After a few reminders of the Schaefferian theory of listening functions, the words of theoreticians and composers who have nourished this reflection are presented. Finally, a proposal for an electroacoustic piece manufacturing sketch is proposed. Academic review paper


 (…) I secretly hope that an audience will form, which will prefer the sessions, in a more ungrateful principle, where we must forget the train so as to hear only the sonic color sequences, time changes, the secret life of percussion. (Scheaffer). Research memory for study electroacoustic composition