As musicians from no less than twenty-two European states gathered at Strasbourg in September to discuss Contemporary Music, one began to realise that Europe, in 1985, had already moved beyond the familiar concept of a political and commercial federation. Historically, however, and motivated only by musical opportunity, musicians had for centuries largely regarded Europe as one patch ever since it became possible to travel. But in recent times it has become clear that the new Europe and European organisations which have emerged may, one day, have far-reaching effects upon many aspects of musical life which have hitherto evolved locally or nationally at different paces and in response to widely differing circumstances. By means of this and other conferences, therefore, Europe is beginning to give expression to corporate artistic concerns, and attempting to do so with a single voice as independent nations are gradually transformed into member states and ultimately, one might anticipate, into regions. This process and the means by which it is accompanished (e.g. the organisation of large European conferences) is also viewed cynically by some as political inevitability being transformed into desirability.