Abstract
This text proposes to outline some developments which led to the encounter of cinema and music through electroacoustic means. Arising from the first experiences with sound in the cinematographic medium and its direct application on film material, also the inclusion of electronic instruments rejected by the erudite music establishment, reduced and acousmatic listening presented respectively by Pierre Schaeffer and Michel Chion, the technical similarities of both artistic expressions by Robert Normandeau till the encounter of the experimental with the mass audience under Toru Takemitsu e Walter Murch. Inside this panel a technical, aesthetic, historic discussion is brought to fruition on the various conceptual guises that compose the sonic cartography of electroacoustic music.
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