The composition of music has evolved into an interactive process of directly sculpting sound morphologies on multiple time scales. A prime example is the electroacoustic music of Horacio Vaggione. This music's complexity and subtlety challenges mere textual description, posing formidable problems of discourse. In this article, the author traces the aesthetic and technical path followed by the composer Haracio Vaggione during his career, and in so doing begins the task of developing a new analytical vocabulary.