During the second half of the twentieth century, musical practices were profoundly transformed, on the one hand by the emergence and democratization of techniques for sound analysis, synthesis, and processing, and on the other by scientific knowledge surrounding the phenomenon of sound itself. Musical acoustics, computer music, and more broadly what is referred to as musical research—linked to the integration of new technologies into music—led scientists and musicians to collaborate within new institutions in order to develop new tools, bodies of knowledge, and forms of expertise. Drawing both on archival research and the collection of oral testimonies, the RAMHO project (Recherche et Acoustique Musicales en France: une Histoire Orale / Musical Research and Acoustics in France: An Oral History) examines the origins of these research structures—many of which were established during the 1960s, 1970s, and 1980s—and the ways in which relationships between Science and the Arts were conceived. This oral history project therefore lies at the intersection of the history of science and technology, musicology, acoustics, and computer science.

Scientific consortium: F.-X. Féron (coordinator), V. Tiffon (co-coordinator), J.-L. Giavitto, C. Vogel, M. Aramaki, L. Zattra, G. Boutard, C. Guastavino, B. Gilardet, A. Nilchiani, P. Carré, N. Donin, A. Bonardi, M. Joubert, F. Descamps, A. Veitl, V. Ginouvès, R. Bailly, S. E. Chaouch, L. Frémy.