Abstract
This article stresses the important contribution of Horacio Vaggione to inserting the computer within a musical project. The theoretical contributions of Vaggione shed light upon the way he takes advantage of the computer in his musical activity—not merely for problem solving, but rather as a component of a complex system which intervenes in a genuine polyphony of processes involving a multiplicity of time scales. His musical works evidences concern and imagination concerning morphology: he builds sturdy structures from minute grains. His music reveals novel figures: while bringing to the ear a world made up of atoms, it manifests the arrow of time.
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