A new music from new sound objects?

Is it really possible to find out a new music inside new sound objects?

Pierre Schaeffer, the creator of Musique Concrète, suggests this possibility in his book Traité des objets musicaux. In fact, what he calls solfège is a set of steps that could be used to release or to synthesize pieces of music from a set of sound objects.

However, at the end of his book Pierre Schaeffer claims that it is not possible to release or to synthesize pieces of music from a set of sound objects. He states that there is no continuity from sound objects to music composition. Why not? Why is it impossible? And, what can we learn from that?

I carefully studied and tested his solfège, and I summed up all the results I found in the following paper (you can download it free):

Zampronha, Edson. “Da escuta do objeto sonoro à composição musical? Um estudo sobre a irreversibilidade da escuta em composição”. Ouvirouver. Uberlândia, v. 7 n. 1 p. 66-80 jan.|jun. 2011 (in Portuguese).

Figure 1, extracted from Zampronha, Edson. “Da escuta do objeto sonoro à composição musical? Um estudo sobre a irreversibilidade da escuta em composição”. Ouvirouver. Uberlândia, v. 7 n. 1 p. 72.

In this paper I explain Schaeffer's Solfège. Then I develop a practical use of it in the second movement of his work Étude aux objets. The results are surprising and revealing because Schaeffer organizes his music by means of procedures extraneous to the sound objects present in his work. Indeed, he uses procedures that are deeply rooted in archetypes found in classical music. 

Eventually, I conclude that Schaeffer is correct, and I explain that this is so because listening rules are not reversible into compositional rules.

However, in this paper I give an outline on how we could use his Solfège to connect sound objects and music composition for the effective production of original works. In short:

We can design some ingeniously compositional procedures in order to reveal to our listening some original features found in sound objects, and from these compositional procedures we can devise new forms of music organization (p.79).

With this outline in mind, Schaeffer's solfège offers an original perspective for music composition. A very interesting one that might bring us to innovative and inspiring musical results.