This article evokes the context in which Horacio Vaggione, the composer-theoretician, developed the basis of his thought, between his work in an electroacoustic, or later a digital, studio and the evolution of musical informatics, stressing the importance of the micro-temporal articulation of sound in view of a syntax of musical sound. The article presents several concepts that enable him to approach the temporal domain in an operative manner: the sound object in a digital environment, multi-scale time, micro-temporal operations, the figural approach. The article then discusses the emergence of musical time when listening to the composer's works, brings up several coincidences with Theodor Adorno's ultimate thoughts, and concludes with the syntactic properties of sound in multiple temporal dimensions for direct digital musical composition (écriture).