“deployment of diverging sonorous effects from a single material cause” (p.

79)
“On the sonorous object: what it is not” (p. 79)
“there is a sonorous object [...] only insofar as there is blind listening [écoute] (p. 79)

“the sonorous object is not the instrument that was played” (79)
“the sonorous object is not the magnetic tape”
“what is on the tape is only the magnetic trace of a signal: a sonorous support or na
acoustic signal.”
“The object is not an object except to our listening, it is relative to it” (79)
“The sonorous object is conteained entirely in our perceptive consciousness” (79)
“a few centimeters of magnetic tape can contain a number of diferente sonorous
objects” (80)
“in the acousmatic atitude our perceptions cannot resto n anything external” (80)
“the sonorous object is not a state of the mind [âme]” (81)
“far from being subjective, incommunicable, and practically ungraspable, sonorous
objects can be clearly described and analyzed.”
“the sonorous object reveals this ambiguity: as na objectivity linked to a subjectivity, it
will surprise us only if we obstinately insisto n opposing ‘psyychologies’ and ‘external
realities’ as antinomic. Theories of knowledge did not have to wait for the sonorous
object to perceive the contradiction”
“Our approach is thus distinguished from the spontaneous instrumental practice in
which everything is given at once: the instrument [...] and the corresponding virtuosity”
“Nor do we [...] claim to ‘the most general instrument that exists’; what we are aiming
at [...] is the most general musical situation that exists.”
“Deliberately forgetting every reference to instrumental causes or preexisting musical
significations, we then seek to devote ourselves entirely and exclusively to listening, to
discover the instinctive paths that lead the purely ‘sonorous’ to the purely ‘musical’.”
“to deny the instrument and culturalconditioning [EHu?], to put in front of us [metáfora
espacial: o som não está diante. Tb: )| HUG] the sonorous and its musical ‘possibility’
[CSP abstração]”
“The tape recorder has the virtue of Pythagoras’ curtain: if it creates new phenomena to
observe, it creates above all new conditions of observation” (81)

SCHAEFFER, Pierre. Tratado de los objetos musicales. Madrid, Espanha: Alianza

Editorial, 2003. (1966)
“[En el Littré,] oír [es] dirigir el oído hacia donde se reciben impressiones de sonidos.
Oír ruído. Oigo hablar en la habitación de al lado, oigo las noticias que me cuentas.
Entendre-écouter (oír-escuchas): Oír es ser golpeado por sonidos; escuchar es poner la
oreja para oírlos.