The critical examination in this paper should point to a shift in a perspective in understanding musique concrète (concrete music) in relation to its historical evaluation, viewing it as a music of technology. The paper is based on the hypothesis that each technology in its materiality and functionality shapes the outcomes that arise from it, which is ultimately aimed at looking for the ‘human’ in the ‘composer-technology’ dichotomy. That is where the reshaping of the musical experience takes place. But it should be noted that the technology share will be questioned through only a few aspects of concrete music, which is why there is an open possibility for further research problems.

SONEMUS is an organization established in 2001 for the purpose of performing, promoting and educating in the domain of contemporary music. The SONEMUS Festival is the only festival of its kind in Bosnia and Herzegovina and that is the reason for its great importance for the development and expansion of 21st-century culture and art in the home country, as well asin the region of Southeast Europe. So far, a large number of projects have takenplace under the name of SONEMUS, including a variety of concerts,workshops and lectures. From 2015 to 2018, the Society has registered fourfestivals of exceptional importance for musical life in Bosnia and Herzegovina. Consequently, this article will review of the Festival’s development over the past four years.