The authors present the history and configurations of several spatialisation systems (Chowning, Spat, Acousmonium, and Sigma) and spatial use in twentieth century musical works (Ives, Stockhausen, Boulez). They also describe high-level programs for spatialisation system control (Vect object or MAX, MIDISpace system, Holophon) and gestural interfaces (mixing boards, 3-D sensors, video sensors, meta-instruments, pedals and real-time sound analysis).