The various notational means of signifying and conveying the composer's decisions and specifications to the various media for the electronic production of musical sound are probably temporary both in their exact nature and variety. But this should not be construed as a basis for concluding that these notational practices are, therefore, of consequence only to the historian of the ephemeral, or to the operators and designers of such media. The characteristics of these notations and, indeed, the very fact of their probable ephemerality embody implications of far more than mere “historical” interest, implications which extend significantly beyond the nature of the current means and even the structures of the particular media.