"Annazone" (Anna area), analogue concept of proximity with Amazon (Brazil equatorial forest). The singer is of Brazilian origin. During early childhood, the singer was especially impressed by the songs and cries of the birds and insects of the Brazilian forest. This sound world is entangled on several levels (vegetation, smells, noise, light, humidity in constant variation with the hours of the day and the night.) It is astonishing how much the human being is first able listen carefully to the sounds emanating from the vegetation, countless insects and multicolored birds, then imitate them, while adding their own distorting imagination In the forest the signals are slightly redundant to convey intelligibility in this complex environment. The sounds emitted may seem "vocalic" by far (allusions to our vocabulary: Kiveliukiu, Piahiuhuu, Kaijakukike, Jokokoka, Karemu, Hojonga ...), but birds and insects emit all the vocabulary of electronic music, harmonic sound more or less complex, passing through all kinds of impulse sounds until approaching the modulated noises.The volubility is so great that the listener does not succeed. s always really listen to these sound messages and tends to interpret them, especially simplify them. The singer not only imitates the song of birds, but generates, by imagination, the sounds produced by plants, fruits, herbs, butterflies and insects. If the urbanized industrialized nature has lost the sonic relief (from top to bottom and from near and far to a screed of engine noises that closes the horizon), in the forest this sound space is wonderful. In the cultivated and abstract music almost always exists only one sound plane and when the listener crosses this melodic or structural plane, he falls into the noises of the room, or, if he listens to a disc, on the noise. If, in "Annazone", one abandons the foreground of the songs, the calls, the shouts and the phonetic modulations, the consciousness falls on the second level, that of the exotic birds and, if it crosses this more complex plan, the Hearing consciousness joins the background (the waters flowing in space). In the reality of nature, in truth, there is no finality regarding the sound backgrounds because they are extinguished in the inaudibility of the very distant (more and more complex too). Thus the listener has to give up his need for analysis because of lack of time (indeed, the vocal structures appear and disappear quickly on the complex background of the sounds of the forest) which generates a spiritual rest. This need for vertical and horizontal sound space is certainly the most delicious pleasure that we hear in the forests of Europe or elsewhere. The need for space is a necessity of modern man (around which closes, every day a little more, a world of industrial noises which closes the horizon by continuous information clearly too strong). The other interest for the sound nature is its entropy. The cultural man has always played on an abstract dimension (the articulated language of the composer) to escape the lack of real entropy (the search for a certain spiritual entropy, by fast or surprising forms, by a duality on which plays if Well JS Bach: first create redundancy to hook the listener, then, suddenly entropy to surprise him) and if some composers seek material entropy (entropy of the sounds in their disorder and their multiplicity, for example in P. Boulez and others ...), it is in fact electroacoustic music that can develop and engender this entropy we expect on several levels: that of space first, then that of spectra (stamps ) and finally that of heights and intensities as durations. It seems to me that this is where the great strength of electroacoustic music lies.