The author analyses the relationship between politics and music through three works that were realised in two important centers in Paris (IRCAM and CCMIX). After a philosophical introduction discussing meaning in music, the author details how the composers represent particular events ( e.g. September 11 in Pierre-Abert Castanet's piece) in the sonic realisation of their works. In these three works, each of which addresses issues of culture shock, the computer plays the character of a machine - represented in all its destructive potential.