This article aims to shed light on a new and emerging creative field: " Audio Games, " a crossroad between video games and computer music. Today, a plethora of tiny applications, which propose entertaining audiovisual experiences with a preponderant sound dimension, are available for game consoles, computers, and mobile phones. These experiences represent a new universe where the gameplay of video games is applied to musical composition, hence creating new links between these two fields. In proposing to manipulate what we refer to as " a-musicological " 1 representations (i.e. using symbols not normally associated with traditional musicology to manipulate and produce sound), this creative aspect raises new questions about representations of sound and musical structures and requires new instrumental gestures and approaches to composing music which will be examined. Furthermore, these objects play a role in the rise of a new amateur profile, already put forth by authors like Vilèm Flusser (Flusser, 1996), with regards to photography. After having defined the characteristics and the limits of this field and highlighting a few of the historical milestones (abstract cinema, gaming theory in music, graphic actions and scores), we will study a few examples of musical games and propose areas for further research to devise analytical tools for these new objects.