https://www.electrocd.com/en/album/2319/Micheline_Coulombe _Saint-Marcoux/Impulsion Impulsion. ElectroCD.com. 2001. Program notes. Micheline Coulombe Saint-Marcoux: Her Electroacoustic Works Andra McCartney “What is the composer’s attitude toward this technique? It is with a completely new and liberated spirit that he must make the electroacoustic approach to composition, and above all not forget that it is easier to learn how to turn a knob than to know why he should turn it. The difficulty does not lie in controlling the machine technically, but rather in controlling his reflexes when in front of the machine. With electroacoustic music, the composer maintains a constant relationship with the sound material; his direct control of it allows him to verify that this actions have given the desired results. The composer can also make use of the distance of the listener, just as the painter can step back from the canvas in order to see it better. Electroacoustic music is therefore a continuous fusion of doing and hearing, a permanent equilibrium between the composer’s intention (what is in his head) and the result (what is on the tape).” (Coulombe Saint-Marcoux, Le Devoir, June 27, 1970) Micheline Coulombe Saint-Marcoux’s approach to electroacoustic music was important to the development of the form in several significant areas: exploration of the voice as an instrument, integration of electroacoustics with other artistic disciplines, reflection on the role of women composers, and experimentation with spatial trajectories to make the movement of sound more palpable to the listener. Coulombe Saint-Marcoux considered the voice as a fragile and important instrument. During her childhood in the Lac Saint-Jean region, she constantly listened to her family singing. She was aware of the incredible possibilities of the voice, but