This live-electronic piece (a mixture of electroacoustic music and instrumental music in the traditional sense of the term) also features a number of thematic models (from nature, animals and non-Western music), giving greater emphasis to timbre. 

This sound mould includes purely synthesised sounds, natural (recorded) sounds and instrumental sounds. 
The non-Western instruments used include the Balinese gender, the Japanese koto, the Sudanese lyre, the Ivorian balafon and the heptaphone . The latter instrument, which the composer still owns, was made to his order on the model of the Ivory Coast balafon. 
These various African musical elements are treated through the fusion or complementarity of electroacoustic sounds, instrumental combinations, juxtaposition and the imitative reciprocity of rhythmic-melodic motifs, 

Apollinaire Anakesa Kululuka: L'Afrique subsaharienne dans la musique savante occidentale au XXe siècle, p.264-265

With Tempora (1988, for 3 samplers and a sequencer), Mâche took advantage of the possibilities of both improvisation and direct control offered by the use of Midi keyboards and sequencers to escape the straitjacket of omnipresent and invasive writing. This new medium enables him both to open up unsuspected fields of sound to the listener and, for himself, to develop a more flexible compositional praxis.