We present an analysis of micro-compositional techniques used for the synthesis and spatialization of sound with a computer. Our discussion centers on the fact that a single algorithm, a particular implementation of iterative feedback FM, has been found to concurrently provide the basis for complex chaotic sound synthesis as well as for the definition of complex interaural time and intensity differences that permit an interesting diffusion of the sound in a stereo field. Both processes are generated in real-time from the same algorithm: as the sound is synthesized, the spatial characteristics are also synthesized. Original work was performed on the UPIC system at Les Ateliers UPIC (Unité Polyagogique d'Informatique de CEMAMu), and has since been expanded and further investigated by the implementation of an UPIC simulation in the MatLab programming environment on a personal computer. We present the results of various simulations, highlighting the effects of the iterative feedback FM technique as a chaotic sound synthesis tool, as well as its ability to provide spatialization cues to the listener in an acoustic space. The geometry of the listening space is evaluated (the loudspeaker-listener interface), linking the algorithm and the digitized sample stored in the computer to the interaural cues that are ultimately presented to the listener, and which are responsible for both the resulting timbre as well as for the spatialization of that timbre. Our discussion is presented within the context of what is described as “emergent composition”, a term that we suggest could describe the manner in which micro-compositional methods (as those presented here), influence and induce the resultant listening experience as the sound is presented to the listener in an acoustic space.< Réduire