Electronic sound in post-war Japan: creation, consumption, representations

International audience ; According to the definition proposed by Leigh Landy, electroacoustic music is musicin which electricity is used not only to record and amplify sound, but also to create the musicalmaterial.Electroacoustic music thus has more to do with the question of means and materialthan with the question of stylistic traits. Although in electroacoustic music the sound materialis recorded sound, it can be of two types: microphonic, that is to say picked up by a microphone,or electronic, that is to say synthesised. Each of these two types has a profound influence on theway in which this sound material is developed and on the understanding of the sound.I would like to look at representationsof electronic sound in Japan. This research project will look specifically at the evolution ofrepresentations of electronic sound as it became a commodity in the 1970s.I will presentsome questions that form the starting point of my reflections. These questions concern, on theone hand, the ways in which electronic sound is perceived in the continuation of microphonicsound in the context of the creation of electroacoustic music and, on the other hand, the waysin which electronic sound is perceived in the context of its widespread dissemination in society.