"Appetizer" presentation speech, program notes offer a form of symbolic framing and a concrete support of the works at the same time and places as their meeting with the concert audiences. Consisting of reduced and ephemeral texts with implicitly defined functions and random items, they are visited by a musicology primarily significant for analysis and works programming considerations. It is true that the discourse of the composer, diversified (descriptive, explanatory, expressive, circumstantial, etc.) can borrow from the categories of musical analysis, and thus its problems in the case of electroacoustic music (Campos & Donin : 2009, Delalande, 1995, 2013). The words of the composer are tools, deictic, shifters, seeking to establish the work securely in its context, to facilitate the perception or deepen understanding of the unique work they are responsible for presenting. These notes are part of the protean filiation theoretical writings of composers on their own production which develop and diversify, especially from the 19th century, thanks to the development of publishing and other media testifying the increase of subjective and critical look specific to modernity. This phenomenon is amplified and institutionalized in the case of contemporary music and even more electroacoustic. Actually, commentators of contemporary music identify two tension poles that affect it in its languages, forms and techniques on the one hand and social functions on the other. The renunciation of the tonal reference and its meaningful and expressive properties established, give way to the individualization of compositional systems, favored by the technical expertise in the context of globalization. This autonomous attitude questions its ability to symbolize and communicate with the public. The aesthetic judgment built around tonality is unable to organize the rational and emotional components of various works and have to be listened to differently. The mediation of the composer's comment is more than ever essential to a situation of broadcasting in which the electroacoustic work is revealed in the unheard and the unseen, because of the absence of the usual visual references such as instruments, interpreters and scoring. The composer, even more than the analyst establishes explicit links that the work has with the world using the compositional means available. Communication issues are closely linked to those of composition, being crossed by the same tensions. The program notes express their preferred traces. However, few historical studies have sought to identify filiation, even less to analyze them on their own, as a phenomenon specific to a context which becomes systematic in 1950 and is considered in a very special way in the case of electroacoustic music.