Live Electronic Music An analysis and documentry of the last century - Essay Example

The Development of Electronic Music in the age of Modernity and Post Modernism How noise is experienced, measured, and responded to and what 'silence' means and how it is produced are key parts of the terrain for 'sound studies'. Today's noisy world is even more complex as mobile sound technologies such as the personal stereo and car stereo enable people to regain some control over their sound environments and at the same time provide an unwanted source of noise nuisance for others. The problem of musical noise with which Murray Schafer began takes a new form when we pay attention to the introduction of audio and recording technologies at home and elsewhere. ( Pinch and Bijsterveld 2004:15) The last century or so has seen rapid developments in sound technologies where as the last 50 years have been particularly instrumental in changing the pith and substance of how music is viewed and perceived in popular culture and this has led to a rapid change in how music is "packaged" and "consumed".This is particularly true for live electronic music where as the developments in electronic technologies over the last 50 years have dramatically changed it itself .Unlike the 19th century electronic music today is both live and recorded.However early influences saw most of electronic music experienced as live performance. ( Pinch and Bijsterveld 2004). The current electronic music scene is based on individual performances through technologically mediated devices, such as a personal stereo or a personal computer that enables the downloading of MP3 files over the Internet. ( Pinch and Bijsterveld 2004)The recent years in particular have seen that there has been an increase in the inflow of electronic instruments like Theremin, Hammond Organ, the electric guitar, the synthesizer, and the digital sampler. The paper also explores how teechnologies such as the phonograph, tape-recorder, and compact disk have enabled 'electronic sound' to be produced, controlled, and manipulated without interference from musicians. ( Pinch and Bijsterveld 2004) The current recording studios present the role of the sound engineers as very important in the production of 'the electronic sound" and this has been matched with the main role of the musicians themselves. ( Pinch and Bijsterveld 2004)The question remains though how such changes can be viewed in the context of music audiences and for the science and technology studies.Thus the paper has addressed in the context of live and recorded music based on the new technologies and music and how the use of new instruments, such as new varieties of electric guitars and violas; new means of manipulating and controlling sound through microphones, reverberation units, mixing consoles, and new forms of networking software and audiophilia holds for the future of electronic live music. ( Pinch and Bijsterveld 2004)This essay question explores the development of Electronic Music over the past many decades and how the post modern era has moulded it to its styles and tastes based upon aesthetic and political motivation, as well as focus upon particular composers. (Griffiths, P. 1995). Whilst remaining primarily historical some example works will be analysed in detail. However the focus will inevitably be upon how the past two decades have changed the face of music and this will entail a discussion how the younger crowd of musicians is bringing innovative styles and aesthetics into the spot light. (Griffiths, P. 1995).The most important thing to review here is that all these developments have reflected the changing technology of the times. (Griffiths, P. 1995).The 1980's saw the advent of the MIDI instruments and software which made the control of sophisticated instruments very easy and made the production of music out of the studios much cheaper. (Schwartz, S. 1993.).This further allowed the reintegration of Acoustic sounds to allow for the reintegration of Acoustic sounds through carefully sampled computer based musical instruments. (Schwartz, S. 1993.).This is particularly true in terms of the graphic signal-processing software which when it came out allowed for real-time MIDI control allowing the post modern composer to use this system even with limited technical knowledge. Chadabe, J, 1997).The availability of of such techniques and the further advent into the market of the Yamaha DX-7 MIDI keyboard in 1985 and of hard disk recording and editing softwares were all set to revolutionise Electronic music. (Schwartz, S. 1993.).The nineties further paved the way for more interactive computer-assisted performance and the release of the multimedia CD-ROM meant that the MIDI sequencing programmes were all set to expand to include digital audio. Chadabe, J, 1997). This is in contrast to the position of technology available for the electronic composers back in the 1940's. where as the musicians were still struggling with amplifiers (for example John Cage's Imaginary Landscape no.1 (1939)).Towards the fifties there was the Radio-diffusion-television upon which the modern musique concrete is based upon.The founders of the French version of the Groupe de Musicque Concrete included the likes of Messiaen, Boulez and Stockhausen. Another studio opened very soon under Karlheinz Stockhausen and made generous use of electronic sound generators and modifiers .It can be seen that along with the technology the electronic music has come a long way. (Schwartz, S. 1993.).The modern Electronic music scene can be summed up in the following diagram1 The post modern Music scene According to Pierre Bourdieu quoted in Cronin A (2004: pp. 349-369 ) "This economy demands a social world which judges people by their capacity for consumption, their "standard of living", their life-style, as much as by their capacity for production.It finds ardent spokesmen in the vendors of symbolic goods and services, the directors and the executives of firms in tourism and journalism, publishing and the cinema, fashion and advertising, decoration and property development. Through their slyly imperative advice and the example of their consciously "model" life-style, the new taste-makers propose a morality which boils down to the art of consuming, spending and enjoying." At the same time before I delve into a discussion of the modern electronic style of music and the modern composers it is worth looking at the legal and social issues, essentially the post modern premises upon which the development of the modern electronic music scene is established. Chadabe, J, 1997). Here I would briefly like to mention that the electronic music industry is a booming business today. The modern musician is not a starving artist and will tend to spend large amounts of money on publicity and media relations.The legal machinery has developed to help the musicians accommodate their commercial interests and the efforts of copyright to rely upon the law of copyright to acquire commercial value and basically how the advent of new technology has threatened such reliance on copyright law. The digital age seems to have compromised the concept of copyright material and has had negative outcomes for the publishing, music and the computer industries. An important example of this is the peer-to-peer file sharing system of copyrighted music. The Napster and Grokster cases are a good illustration of the legal response of the industries .The copyright industries themselves have responded with new business strategies by providing legal download services.2In England The Copyright Designs and Patents Act 1988 gives protection to books, films, videos, plays, music and drawings, all of which can make it onto the internet in a very short time for infringement.Very often copyright owners feel helpless in the face of technologically sophisticated infringements. For example in the famous case of Napster music files were created in MP3 format and Peer to Peer file sharing began. Within months 50 million people were using a service which was a blatant violation of copyright laws.. The company behind Napster argued it was only an intermediary and this posed new challenges for copyright law. Subsequently Europe passed the new Copyright Directive to close Napster-type loopholes. After the closure of Napster, other ventures like Gnutella found success by their "swapping method" of file sharing and operating decentralised networks. A bigger threat to copyright users in the form of networks like Freenet is that the copyright infringers are impossible to trace and identify.The copyright industry has developed a host of legal, educational, public relations and technological strategies to keep its profit base from collapsing. Modern age DVD's are encoded to try and prevent copying even though this mechanism has already been circumvented. Software giants like Real Networks, are promoting the use of copyright music over the internet. Other challenges consist of procedural difficulties. That is, in cross border infringements it becomes very hard to gain control over an infringer who resides in or takes refuge in a jurisdiction where that is not an offence.3The Digital Millennium Copyright Act (DMCA) is a United States copyright law which criminalises production and dissemination of technology, devices, or is used to circumvent copyrighted control technology (digital rights management).The DMCA has been accused of being anti-competitive as it discourages innovation in the technology field and also causing inconvenience to legitimate users while the small time internet pirates slip past them easily.4 Anti-circumvention rules are also said to make the detection of security threats illegal and encouraging software like cuckoo's eggs which are edited MP3 files that appear to be a copyright protected song being distributed via the Internet without the permission of the copyright owner. Although the initial portion of the song is original and the rest is just random noises. 5Cuckoos eggs used along with worms slow down the infringer's computer systems almost like a virus. Because it seems that copyright is becoming less of a response to technological developments and more of a hindrance to new music technology.This holds true for computer based music which is the new face of electronic music which is now more vulnerable to copyright infringement. Live electronic music has seen a new boost by the role of the studio engineers who have with time become more and more dexterous at the manipulation of sound and standardization of the music.Studios tended to own their signature tunes and sounds (recall the Nashville Sound and Phil Spector's 'wall of sound').There have also been signature sounds by live electronic musicians, groups, or instruments.The result of the globalization of electronic music is to some extent responsible for standardization of some degree as well but this has vastly depended upon local configurations of technology and skills within studios with in the global recording industry which has enabled certain kinds of sound to travel and become the 'standards ' for live electronic music.For Theberge (2004) the history of the electronic studio and the future are poles apart as in the future the concept of a physical studio may well disappear.This the future can be foreseen for electronic music as having disappear physical aspects of local space from recording as musicians anywhere in the world in any time zone can in theory network together to record music thanks to internet technologies .No longer will there be a need as Theberge (20040 notes for physical studio devices as in the past for configuring the spatiality of sound. ( Pinch and Bijsterveld 2004) The advent of the computer technology can actually be said to bring about heavy digitization of the studio brought about the much needed control of software technologies in recording and composing music. ( Pinch and Bijsterveld 2004)These new technologies in audio have contributed to shifts in modes of listening particularly to the birth of the notion of a 'soundscape' based upon not just musical patterns but the sonic environment aswell including not only the 'natural' environment of sounds, like beach wave sounds but also tunes resembling filled spaces of sound utilized to create electronic music. ( Pinch and Bijsterveld 2004). The Social Scene of the past two decades has also caused a shift in musical preferences and styles. Chadabe, J, 1997).We can see a vast amount of genre's6 appearing to suit different parts of the population with their preference .The seventies in the United Kingdom saw electronic music being merged with pop music with the likes of composers like Jean Michel Jarre, Tangerine Dream, Vangelis, Yello and Art of Noise. (Holmes, Thomas B. 2002). However post eighties as mentioned above the advent of the Midi file revolutionized the nature of Electronic music paving the way forward for the techno and house genres which were founded by Derek May and his affiliates (using Atrari modules).New genres were also blossoming at this time like Trance ,Drum and Bass.However technology was taking further leaps and thus came the age of the music software which allowed the creation of music with in the computer system (Like Rebirth and Fruity Loops softwares ).This to some extent required lesser use of the extraneous musical instruments or hardware. (Holmes, Thomas B. 2002).This has caused the criticism of having lowered the quality of music by making it suitable for the easy to manufacture fast food culture and that the music is losing its class.The positive side has inevitably been the flood of the younger generation of artists creating stiffer competition in the electronic music industry with the relative cost of production falling considerably and this has encouraged the growth of techno, experimental and electro acoustic music.During this time the music industry has also seen one hit wonders like "Eiffel 65" and persisting brand names like Benny Benassi and their like.The problem is that in the post modern culture where " sex sells" these artists bank mainly on their sexually suggestive videos to go along with the club culture. (Holmes, Thomas B. 2002). Where as the 1940's saw the advent of musique concrte, acousmatic music forty years later there was the pop and industrial genre of the eighties based on club dances like trance, electro, and electronic jazz. Other experimental styles included the likes of electronica, glitch, and trip hop. (Simon Emmerson. 1986.)The past two decades have also witnessed a notable commercialization of the electronic music as until the early eighties only Mute Records dealt with electronic music which was later followed by Plus 8 and Warp Records in the nineties. (Simon Emmerson. 1986.) The post modern era has also shown how popular music "audiences" use and electronic and pop music as a source of religious identity and ideology as it has become a part of the post modern "expressive humanism" and spirtuality, personal authenticity, and cultural tolerance which is so a symbol of the modern postmaterialist, liberal democratic world order. (Lebrecht, Norman. 1996).The same music is playing a great role in the identity-formation or meaning-construction for young people. ( Pinch and Bijsterveld 2004) For the purposes of my study I have gone through a number of modern musicians who are considered a contemporary success. The first one is Maryanne Amacher whose latest work is "Sound Characters (Making the Third Ear) (1999) and has created and composed electronic music for two decades.Her music consists of electronic soundscapes and "ear-dances" ,dancing difference tones and psychedelic sonorities. (Lebrecht, Norman. 1996). Next the works of Applebaum who is influenced by Brian Ferneyhough seemed to merge modern classical complexity and what can termed as genial madness with his medley of eclectic compendium of homemade electro-percussion, orchestral fireworks, and light humour. Milton Babbit is a name few can forget in the world of excellent electronic music and has many world premier recordings to his name.He has ruled the music world for six decades and has been through thick and thin of the industry as it developed.When I heard his works in Occasional Variations (2003) I realised that most of his works of genious are often understood and he is a man for all seasons.Theguitar playing tunes of Mick Barr were fast and combined the power of rock .Although they displayed aestheticism they could not be compared to the genius of Babbit.The last in my review list were the works of Bill Brovold in Childish Delusions (2000) which presented the powerful new instrumental rock trends so similar to Mick Barr in 2003. Finally towards the end of my research I would like to pay attention to the seventies disco which had the most effect on the current genre's of electronic music.Most critics consider Disco/electronic music annoying due to the use of the synthesizer and the unrelenting repetitive beat which is still a complaint today.Anyways back in the seventies it was possible to do this through drum machines and electronic instruments. Thus what was emerging was a musical style based on the social groups that clustered around these subgenres of electronic music. (Lebrecht, Norman. 1996)Disco originated particularly across the Atlantic as being established within urban Black and gay cultures (alienated by White rock music), and this cult phenomena further gave birth to a commercial success and there was a disregard of white rock. (Manning, Peter. 2004). Techno and Electronic music was approved based upon its lack of racism and homophobia .At the same time the rock fans had their homophobic movement and had a "disco sucks" campaign on their wasy. Disco died a premature death in the in Eighties restricted mainly to its black and gay urban audiences, and was now called "House music" after Chicago's Warehouse Club( based on the efforts of DJ Frankie Knuckles).House music was new and had its shock value .It used sounds like car-crash percussion breaks, voices in unheard-of keys, ant-farm-maze keyboard improvisations in John Rocca's "I Want to be Real," and other similar tracks(Manning, Peter. 2004). The seventies discos were different as Ward, Stokes, and Tucker note they ""offered the disc jockey as a new species of pop artist. Through skill, timing, and taste, the disc jockey used two turntables to segue between records with compatible beats" (Stokes 1986)). Techno music found it's zenith during the 12-inch single extensions of songs allowing for remixed for longer versions dance songs which according to Thornton "came from American DJs who had been mixing seven-inch copies of the same record for prolonged playsome began recording their mixes, editing them on reel-to-reel tapes, then playing them in clubs. When these recordings were transferred to vinyl, the extended remix was born" (Thornton 1996).However the 1980's were a different story already due to changed treatment of gays and minorities. (Gilbert & Pearson, 1999).Then we have the advent of the "acid house" music are unclear which was said to be an offshoot of Chicago house music which was now causing the inception of the "rave culture" in the Acid house music and the was composed of young white audiences who were avid users of the euphoria-inducing drug ecstasy (Gilbert and Pearson, 1999).The age of ecstasy further promoted Acid house music to faster beats and instrumental styles . This was an unconventional style of music and did use human voices.(See Fast Eddie's "Acid Thunder" which used featured digitized bass lines) Next we have had the advent of techno music which was again another reincarnation of Acid house (Brewster, Bill, and Frank Broughton. 2000.).According to Sara Thornton "When "acid house" became unserviceable because of tabloid defamation and general overexposure . . . the clubs, record companies and media went through a series of nominal shifts (about twenty different adjectives came to modify the word "house," sometimes in pastiches like "deep techno house") until they finally settled on "techno." The term had at least two advantages: it was free from the overt drug reference of acid house and it sounded like what it described-a high-tech predominantly instrumental music. (Thornton 1996) The development of electronic music has also had an effect upon studies upon the demographic characteristics of fans/listeners.As noted by ( Pinch and Bijsterveld 2004) one such breed of electronic music saviors is audiophiles and they state, " These are listeners (mainly white, middle-class men) who invest large sums of money in purchasing dedicated audio equipment for extreme hi-fi listening to recorded music. Often these audio 'set ups' have their own special spaces in homes - typically the basement. Perlman differentiates between two different groups of listeners: the 'golden ears' and the 'meter readers'. The former eschew science and audio engineering in favor of their ears and will often invest in equipment which they claim boosts fidelity, but which from the strict audio engineering viewpoint appears to work by black magic. The meter readers on the other hand are obsessed with scientific and technical criteria for measuring and understanding sound. Perlman describes the listening practices of audiophiles as carried out in the construction of what they call 'absolute sound'."( Pinch and Bijsterveld 2004:15) The modern electronic music has also not been devoid of its political influences. For example if we look at electronica groups which invoke the identities of oppressed ethnic groups we can see that the Electronic music has been used for serving the post modern political purpose. (Brewster, Bill, and Frank Broughton. 2000.).For example the Banco de Gaia protests the Chinese occupation of Tibet .Another band is the Muslimgauze which is for the Muslim and Arab freedom causes.However the critics have noted that most of these bands seem to lack the cultural sensitivity one might expect from such positions and seem to have casual knowledge of the roots or the causes and seem commercial ventures. (Brewster, Bill, and Frank Broughton. 2000.) . Banco de Gaia's is criticised because its founder only chose Tibet issue by choosing pro-Tibet photos and images for one of his album covers.This seems to be an opportunistic step. However Thornton's views about popular ideologies in dance crowds have not gone well with most academics .This can be seen from the works of Chadabe J 1997 for whom techno music is an important part of contemporary youth culture and he speaks of the various contributions made by music technologies to music practices, industries and debates. He gives a detailed history of the development of electronic musical instruments ranging from Thaddeus Cahill's Telharmonium,which was one of earliest instrument first coming into the electronic music scene in 1901 to the latest in club music today.Another phenomenal work in this regard comes from Paul Theberg's (1997) work on technological developments within broader sociocultural contexts pertaining to electronic music.Chadabe's work as an active member of the Electronic Music Foundation and his experience from interviews with the live electronic music community.It is interesting to note from his work how electronic music has developed as a part and parcel of popular culture and largely a result of technological innovation in musical instruments and software (take the example of the Lev Termen's creation of the the remin).He draws from the works of as well as personal Walter Benjamin, Raymond Williams and Pierre Bourdieu to Dick Hebdige and Steven Feld and like Theberge (1997) he has also commented upon how the success of live electronic musical sound and practice is often conditional upon how the instrument and technology is marketed.Theberge (1997) cites the example of Casino Electronics, which was famous for its marketing of the microprocessor technology based on consumer products like the keyboard pianos two decades ago and this overall affected the availability of low priced musical instruments and the electronic music'culture' of music production for generations of young live electronic admirers and producers. The development of live electronic music is based upon the efforts of music technology pioneers in the first half of the twentieth century as it transformed from tape music, digital and synthesizer technologies, performance devices and sound generators, and interactive instruments.It is yet unknown what the future holds for electronic music based on the current era of digital software editing which is to be used as a creative tool.For (Theberge 1997) the role of the music periodicals and networking has been immense in promoting digital music technologies especially during the decade of the eighties.For him such magazines promote 'an entire philosophy of music-making centred around the values of consumption' (pp. 108, 111), based on sound marketing strategy for such music. ( Pinch and Bijsterveld 2004)Live electronic music has also reflected upon ideologies and gender presentations and this occurs not only in home studios removed from live performance and communal activity but particularly during liver performances technology becomes "the communal bond itself' (p. 127). In his study of the development of the international MIDI Association he states that the success of protocols making electronic music a success is not just a result of the technical excellence of the synthesizer or the music software product but the way it is "marketed" and this is through the music periodicals, networks and user groups. ( Pinch and Bijsterveld 2004) Theberge's and Chadabe (1997) predict a rather innovative and unusual future for live electronic music and state that in the future musical 'performance' would be coming about through user interaction with music installations, creative computer software or web sites, or other presentation forms.This is already apparent from Michel Redolfi's underwater 'concerts' of live electronic music.For Theberge (1997) live electronic music today is concludes by arguing that musicians using 'new' technologies for live electronic music will tend to experience a tension between the various desires to 'create, communicate and consume' (p. 255). This he notes is live electronic consumption which for him has evolved into 'a process of simultaneous production and consumption' (p. 213) which leads to the musicians being able to develop an aesthetic sound experience and thus a whole culture and language of electronic music evolves. (p. 251 ). The way ahead for electronic music . Essentially it is evident from the modern conventions of electronic music that digital design and digital fabrication are now evident of "seamless production" rather than creative transformation all of which was the conventional perception of musical practice.It has been argued academically that "Digital fabrication and computer numerically controlled (CNC) technologies" have affected" electronic music over the past several decades thus causing a change in the significance of detail and the design process ,which has often been criticised for lacking the depth of musical detail and art.It has also been said and this research observes that the modern electronic music composer lacks the accountability as a craftsman anymore and his role has reduced to a "draftsman". ( Pinch and Bijsterveld 2004)The question then is has electronic music taken the human touch away from music at all through heavy digitalization of music which entails mass manufacturing philosophy of design methods, financial complications and over specialisation of tunes have killed what was artistic or "deep" about architecture. Information technology as a revolutionary force has transformed the methods of production, manipulation, and dissemination of information and cut down the costs and paperwork and geographical boundaries in the production of Electronic music. Electronic music always was and remains an information-centric enterprise where the information technology has increasingly played an intense role in creating and recreating artistic habitat designs. ( Pinch and Bijsterveld 2004).Within this ever-changing and evolving environment, it seems natural to assume that modern advances in information technology have brought about tremendous changes in the way in which musicians go about creating their music as well as in the way in which this music is marketed.It has been argued that "recent advent of the Post-Modern are inextricably bound up with the ambiguities introduced into Western electronic music by the primacy given to the stenographic in the evolution of the bourgeois world." ( Frampton (1996), p. 520) Indeed if we look at the post modern fascination with aesthetics, form, and surface it can be gleaned that this is a response for the Modernist's search for a universal form and style. Electronic music as a popular art form however did grow out of the philosophy of mind . ( Pinch and Bijsterveld 2004) This same type of approach took place nearly simultaneously in France with the musings of Rene Descartes, who published his findings in 1637 in his famous Discourse on Method. By carefully constructing abstract spaces, in which the individual was encouraged and enticed to call on their own creativity to interpret and appreciate the space, it was argued that the individual man would awake again to his own sense of self and self-worth, being further inspired to insist upon his own worth as a human being instead of another commodity on the market All is not lost thus in the name of the revolution as can be seen from the movement toward awakening the aesthetic sense of the common man from the slumber of artistic stagnation none the less.Is electronic music then a representation of Modernity and the creativity promised by the post modern eraModernity is often described as a collection of studies into the social processes that order the world we live in while remaining in a constant state of flux. If one is speaking with Marshall Berman, modernity is described as "a mode of vital experience-experience of space and time, of the self and others, of life's possibilities and perils-that is shared by men and women all over the world today. I will call this body of experience 'modernity'" (Berman, 1982). Live electronic music has encompassed the social changes that are constantly taking shape, the way in which these changes are experienced and the reflection of these experiences in various circles. It is a world of definition and ambiguity, a world of static definitions and constant change as electronic music has become a trend.Electronic music then brings about the contradictions of modernity are characterized by a tendency to order space and time while simultaneously promoting their ruination and failure. In describing the modern musician Berman says "they are moved at once by a will to change - to transform both themselves and their world - and by a terror of disorientation and disintegration, of life falling apart" (Berman, 1982). These concepts are imminently evident within electronic music as the concept of branding becomes immediately evident in the concept of electronic music composition.The role of Information technology within Electronic music is indeed a technological revolution which an intense impact upon information processing and also having the core potential to affect the core processes and products of architecture. This is the so called a 'revolutionary' effect on the profession and the discipline of electronic music. Towards some conclusions. In conclusion this essay has explored the unique nature of electronic dance music in the 1990s and 80's that has yielded a constant make or break and recombined subgenre culture due to the fast evolving nature of the music, accelerated consumer culture, and the business strategy. (Brewster, Bill, and Frank Broughton. 2000.) This has also had to do with culture,race an minorities and the way the embraced a certain genre of music.It has been seen how the emergence of subgenres has to do with the political-economy and group identity formations of electronic dance music communities.Furthermore the legal and technological contexts impacting upon these changes in the electronic music have provided an interesting revelation into how the quality of this music developed. ( Pinch and Bijsterveld 2004)The history has been touched briefly for comparative purposes yet there has been an emphasis upon the current political scene and how it has affected the modern contexts of music. Some of the works of modern artists and the industry giants like Babbit have been commented upon.Some of the discussion has also been devoted to the electronic dance music and its development in the seventies. In this regard the seventies and eighties political scenario has been explored as having electronic music as the predominant type of music played for entertainment as well the modern rave scene.In conclusion electronic music is running in the veins of modern music now in the form of multiple genres which have been discussed above.I would like to end my paper on a rather reflective note.The way ahead for the proponents of the advancement of digital music is to consider the implications for the profession and art itself and to stress on the cognition and behavioural aspect of architecture and it should be tried to avoid a conflict and the suppression of the artist inside the musician. ( Pinch and Bijsterveld 2004).The machine can only produce a number of possible outcomes which may be proper and precise but you cannot beat the diversity and genius of the Human Brain.There is obviously a need for the modern musician utilise information technology for the better by a more ethical use of design tools and to use the methodology of evaluating better music to apply human design reasoning by knowing the difference between designer and design practice. Thus my research concludes that despite the accusations of standardization, there is a rising interest with the aspect of digital fabrication and this fresh new wave aimed at promoting the art with in digital musice should not be ignored. The way ahead is to provide amongst other things for a unification of these processes which will yields a much more cohesive third process understood as fabrication. Thus fabrication should promise a renaissance in music through the infusion of intellectual design and physical process. It should also be noted that the modern composer of electronic music should be on a look out for the tendency to over rely on the seemingly unlimited capabilities of digital fabrication and should bear it in mind that these technologies are merely production tools to serve as a means for realizing our design ideas into physical reality and cannot replace intellectual design. ( Pinch and Bijsterveld 2004) In this vein it has been suggested that the emerging musical electronic interfaces now allow musicians to design directly for fabrication, offering them as architects of music the chance to reclaim the act of making music rather than letting machines take the credit.On a final note composers of electronic music who seek to make use of digital fabrication as a design and production tool for music production should have a critical outlook towards the technology and how we use it to make music, rather that simply evolving music into zombie like digital standardization. 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