The authors describe various experiences regarding the use of sonic materials from local musical cultures and soundscapes in the field of electroacoustic music as applied to the creative documentary. The introduction concentrates on the general characteristics of the process of ‘globalisation’ now underway and on the various different interpretations of it that have been developed over the last fifteen years.
A number of methodological and ethical questions are then asked in relation to the debate regarding the global/local dichotomy in the context of electroacoustic and audiovisual elaboration, especially when phonic material originating from the most varied geographic-cultural areas is artistically restructured and reconfigured.
In the third part of the article the accent is placed on the personal experiences of the authors regarding the production of pieces of electroacoustic music and documentaries realised in Morocco, China and Lapland.
In the last section the article concentrates on a possible diachronic perspective (i.e. studying a phenomenon in its passage through time) by means of which one can come to a relationship with soundscape sounds, and some sonic and visual examples from works realised in Catania and London are supplied.