The hypothesis is that territorial experience is part of the process of composingmusic through a series of trials and opportunities. It is especially the case of contemporary music which is based on deterritorialisation, renewed scenes (studios, research centres, urban environments, etc.). My sociological approach in this paper focuses young Japanese women, who chose to learn composition in France. They use three different ways to move between two territories : trajectories, routes or trips ; three different ways to get attachment through the world.