(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