Please, find below my text, be free to change some words or sentence
 
Angel K (Tribute to Konstantinos Graham Politi 1997-2017)
 
I've been making concrete music for about 35 years and been managing an Art sound workshop at the Faverges (City in  French Alpin region) music schools since 2013. I am often confronted to explain to my beginners students the notion of concrete music. In this music, the composer often works with sounds recorded by himself and his job is to transform them, to modify, to mix, using often today devices or software for filtering and decimating an audio. Finished work is fixed music which will be projected in concert only with an "acousmonium" (Orchestra of Loudspeakers).
A first educational solution is to record the student voice to show him(her) how to use all manner of possible technologies in an increasingly sophisticated way : loop, reverse, pitch, stretching, filtering and so on. A second option is to record with a good microphone a weak sound signal making possible exploration of infinitely small sound structures and opening  up particularly attractive perspectives to listen a new silent world… You won't forget gliding past hypercolour coral,  triggerfish with polka-dot bellies and bannerfish with jailbird stripes. 
These two experiences quickly allow the student to penetrate into a sound world which was foreign to him(her), to reach the infinity and the perpetual sound.
In Angel K, I articulated my composition job with only one material sound : voice of a young poet who had died. To hear and Understand clearly the words would remove the veil of mystery which surrounds the subject. The sound transformations allow to create new music  instruments and to take distance regarding a too painful reality.