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In this paper, I illustrate the history of electronic music in four phases: irruption (i), mediation (ii), embodiment (iii) and intimate transformation (iv). This last one expresses a more effectively and deeply integration of the sonic and operational aspects of electronic music in the musical imagination. I argue that electronic sounds, once detached by the ancestral contingencies, are now attached to contemporary contingencies. These transformations affect the existential temporal structuredoi:10.5281/zenodo.3714553 fatcat:koziaidvkrccjigb6jsi6ed7by