Still practiced in the southern Massif Central, transhumance on foot is surrounded by a whole range of customs and know-how, contributing to the development of singular and unifying sound and visual landscapes.

Perhaps one of the most distinctive features of these transhumances is the acoustic clutter created by the use of bells and rattles placed around the necks of the animals by their herders. Questioning the paramusical function of these objects, and the basis of their selection criteria (technical, acoustic, interpretative), reveals a degree of involvement on the part of breeders, shepherds and their bellringers in sound research that might be likened to the process of musical composition.

True "makers of landscapes", composers and performers roam the countryside, dressing it in their movement, their tinkling, their cries, their calls, which will take on a particular resonance as they cross: they thus shape a common listening culture, through their close association in the art of walking, interpreting and deploying the score in a spatialization where the environments bring an acoustic singularity to the composition. Beau Bruit takes us along with them.