The possibilities for sound manipulation, spatialisation and performance have given rise to a multidimensional approach to electroacoustic composition. Yet from whichever background we find ourselves, a number of trends following historical, sociological and technical developments can be uncovered. This chapter identifies these trends and their compositional and aesthetic circumstances, forming a springboard for a new composer to the genre. Although it is unrealistic to delve extensively into all that is relevant, I hope to encourage the reader to more deeply explore the issues raised through the references and discography. Without dwelling on the problems of terminology, let us accept for now the term ‘electroacoustic music’ as including all that is not purely acoustic music, based on instrumental models nor commercially orientated.

Where are we today?

The novelty of the early decades – of listening to strange sound emanating from loudspeakers – has passed. Trial and error has resulted in as many new approaches to materials and structure as has conceptualisation and intellectualisation. Yet if as composers we are to ‘progress’, and not ‘recycle’, we need to refine our art form and learn from those few works which have survived the past sixty years, as well as discover masterpieces from our current year. After all, music technology changes dramatically in less than a decade while musical aesthetics require reflection and development benefiting from longer historical periods. Too often do we hear new compositions from all environments where refinement and development in both technical approach and musical expression is stark – and would have benefited from a deeper insight into the repertoire.