This piece was written as the image of a pluralistic process.

The plurality of the sound sources appears at several levels of perception and in a context of « difference » and « relations » ( pitch, simultaneity or scattering, serial complementarity, associations of durations, density divided between groups). These identities tend to make coexist, meet, break up, reconstitute, several worlds of sound in evolution, wherefore the term « multisources ». Its origin can be found in the « Multimusik » of K. Stockhausen, in particular the piece of electronic music « Telemusik ».

But where in the work mentioned above the composer uses sound sources from very particular cultures (Africa, Japan, Bali…) in a Weltanschauung (conception, vision of the world) in which the historical connotation transcends itself, the sounds of « Multisources » offer more possibilities for sound abstraction. Here there is a coming and going between structures of groups and of isolated sounds, order and disorder, singular and multiple. « An association operated by the text within its own system ».

The general form is a progression of six sections, all in temporal relationships derived from the Fibonacci series. This enables each section to revisit the internal lay-out of the preceding sections, that is, to reinject the initial temporal relationships into the larger sections (taking into account the « past » of the piece).