The sound, as a material in music and in its computational dimension within Western culture, with deep roots in ancient Greek thought and the Pythagoreans, is redefining itself in contemporary musical creation through various approaches, utilizing innovative technologies.

In the context of this book, materials from various essays and articles that have been published over time in journals and foreign collective volumes are classified and processed, focusing on the reference to sound as a material in contemporary musical creation: from sound as a graph, sound as nature, sound as voice, to sound as artifact, illuminating significant aspects of contemporary musical trends in the second half of the 20th century, where sound is examined through the analysis of its structural characteristics, physical processing in organic writing, digital sound composition techniques, and interaction techniques.

In the first part, sound as a graph, aspects of the acoustic representation of musical information are presented through visual illustrations, whether through graphic scores, with particular reference to the work of the pioneering composer Anestis Logothetis.

In the second part, titled sound as nature, an approach to sound is attempted with references to nature through the works of two pioneering composers of the 20th century, I. Xenakis and F.B. Mâche.

In the third part, titled sound as voice, works that have the human voice as primary material and its deconstruction into other timbres using digital composition techniques or interactive media are presented, referencing the works of J. Harvey and Ph. Manoury.

In the fourth part, sound as artifact, applications of modern digital technology in musical creation are examined through the pioneering thoughts of Iannis Xenakis, who introduces new techniques, technologies, and mathematical models for structuring sound and algorithmic music.