In this article, the author notes that the development of electroacoustic music and computer music has made possible huge changes in forms of sonic representation; resulting in the development of new theories that describe sound and its behavior, and broadening the possibilities of notation. Such changes have made composers reassess the relationship between the composition process and technological support, transforming both the elaboration of musical discourses and their interpretation (listening and musical analysis). In addressing these issues he offers a discussion concerning sound representation models that are used in electroacoustic music as active elements in musical composition; revealing some of the most prevalent types, and the possible relationships between such models and the composition process.