ABSTRACT Two musicians who have focused on playing acoustic wind instruments into electronics for the purposes of enhancing their original sound reflect on how the use of such new technologies inherently pushes “old technologies” toward a new aesthetics of improvisation.

The division between high-art electronic music and pop electronic music is best defined in terms of rhythmic content. Pop electronic music uses repetitive beats, primarily in 4/4 time, but a new generation of composers is working within that structure to create what is essentially the new art music. This phenomenon is an outgrowth of such historical currents as minimalism and postmodernism, along with the continuing development of a global technoculture; it is part of a larger cultural shift in which art is becoming more connected with society rather than being created by and for specialists. This positive development is being accelerated by the rapid evolution of new technologies for producing and reproducing music today, as well as by new possibilities for distribution and dissemination of music electronically.