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This paper seeks to make a case for a compositional ideal (the mimetic transfer of a recorded or synthesized sound to the instrumental/vocal domain) which today's technologies for animated/distributed musical notation have made more realistic than when it first appeared as a general aesthetic (with composers such as Tristan Murail and Gérard Grisey, or, in the realm of computer music, as with the practice of Jean-Claude Risset), simultaneously with the birth of the digital era in the 1970s. Thedoi:10.5281/zenodo.3373362 fatcat:ksptgwcyhbfodgfvhknhwln7jy