Electronic music was the 3rd stage of the aesthetics of music (said by H.H. Stuckenschmidt) – 1. Vocals 2. Instruments 3. Electronic Music ...The production of sounds started to become further away from the body.

7 traits of electronic music:
1. sounds sources of electronic music are unlimited, you can sample, and also sine waves… composer can invent sounds that do not nautrally exist in nature, or radically alter sounds that are natural to crate new instruments

2. Electronic music can expand the perception of tonality, and relinquishes music from the western traditional rules. All sounds carry equal importance

3. Electronic music exists in a state of actualization. Stravinsky talks about potential music and actual music, Score vs the execution of a performance. Elec. Music usually defies scoring because it can be composed live. The other issue is there isn’t a formal way to score a piece of electronic music. Scores can be used for future performances, by either graphic or western notations.

4. el emus has a special relationship with the temporal nature of music. The plastic (flexible, elastic, compress) nature of elec mus allows a compoers to record all values associated with sound, Pitch timbre, and an evelope can be recorded taking b=place over time The ability to modify a sound by time and pitch is one of the most fun

5. Electronic music itself becomes a material of the composition. The type of composition allows users to delve into the physics of sound.

6. Electronic music does not breathe, it is not affected by the limitations of human performance. Complex rhythm and speed are not an issue.

7. Electronic music often lacks a point of comparison with the natural world. This provides a largely mental and imaginative experience. Electronic music is disassociation with the natural. Listening requires intellect and imagination to interpret what is heard, and provokes the listener to derive meaning from the re-interpretation of unnatural sounds.

Tape composition methods and techniques:

Most modern recording practice and techniques are rooted in the classic tape studio and are still very similar. Shaeffer, Henry, Cage, and Varese: this type of composition liberated them from scoring and notating parts, which is super time consuming. Tape embodies both space and time. You can see the physical space the sound requires to be produce and unfold. This resonates with our perception of time as humans. Technology levels all characteristics of the physics of sound, because you can speed up and slow down a sound on tape. Chords become rhythms, and rhythms become drones. Duration, pitch and color are now all interchangeable.
Since all rooms have a resonant characteristic, the room will highlight the particular frequencies, and the formants of the room are emphasized.