First Grand Prix de Rome in 1952, he won the same year the Sogeda Prize for his ballet Le Petit Jeu.
Lecturer at the Conservatoire de Paris since 1957, he taught preparation for the teaching profession, solfège and counterpoint, then in 1970 he assumed the function of professor advisor to studies.
He also employed various techniques of indeterministic composition, such as certain uses of transparent sheets, which, seen from different angles, generate transformations of pre-established melodic and harmonic propositions (Linear I, II, III, respectively for saxophone and orchestra, for octet, and for sextet of ondes Martenot, 1973–77).
Fascinated by poetic forms, he knows how to reconnect with the spirit of the pantoum (Strophes, 1965), and acrostic (Études Acrostiches, 1973), also inspired by the phonemes of Jean Cocteau's Poème de l'Étoile to create a vocal expression in onomatopoeias (Phonèminie, 1983 - Le "Chan" du Potager, 1984).
Each work poses a different musical problem, however, Weber's compositions evolve through a certain unity, never revealing a real break.