Introduction1. Musical Understanding: Wittgenstein, Ethics, and Aesthetics2. Spectral Semiotics: Sound, Temporality, and Aff ect in Chopin3. Communication and Meaning: Music as Social System4. The Creativity of Electroacoustic and Digital Music5. The Temple of Electronic Music: The Electronic Music Studio of Cologne in the 1990s6. Audiovisual and Multimedia Composition: The Relationship between Medium and FormAPPENDIX IWDR Studio of Electronic Music:Works produced from 1987 to 2000APPENDIX IIWDR Studio of Electronic Music:Studio equipment used from 1990 to 2000BibliographyProfound theoretical and philosophical approach to contemporary musicProfound theoretical and philosophical approach to contemporary music.Unsayable Music presents theoretical, critical and analytical reflections on key topics of contemporary music including acoustic, electroacoustic and digital music, and audiovisual and multimedia composition. Six essays by Paulo C. Chagas approaching music from different perspectives such as philosophy, sociology, cybernetics, musical semiotics, media, and critical studies. Chagas's practical experience, both as a composer of contemporary music and sound director of the Electronic Music Studio of Cologne, nourishes his observations on the specific creativity that emerges with the use of the technical apparatus, the development of the electronic music studio, the different aesthetics of electroacoustic music, and the forms of audiovisual and multimedia composition.The title Unsayable Music is a reference to Wittgenstein, who suggested that sound is only the surface of music and that the musical work conceals something more profound that can hardly be described by philosophical models or scientific theories.Unsayable Music presents theoretical, critical and analytical reflections on key topics of contemporary music including acoustic, electroacoustic and digital music, and audiovisual and multimedia composition. Six essays by Paulo C. Chagas approaching music from different perspectives such as philosophy, sociology, cybernetics, musical semiotics, media, and critical studies. Chagas’s practical experience, both as a composer of contemporary music and sound director of the Electronic Music Studio of Cologne, nourishes his observations on the specific creativity that emerges with the use of the technical apparatus, the development of the electronic music studio, the different aesthetics of electroacoustic music, and the forms of audiovisual and multimedia composition.The title Unsayable Music is a reference to Wittgenstein, who suggested that sound is only the surface of music and that the musical work conceals something more profound that can hardly be described by philosophical models or scientific theories.