Introduction

Abstract

For many years, it has struck me that, at least since the 1960s, there has been an increasing cross-over of techniques and aesthetic aims between the many music genres that have developed as a consequence of the new electric, electronic and— more latterly—digital sound tools available to musicians in the postwar period. Such hybridity is observable whether one is talking in terms of techno, soundscape, electroacoustic, glitch, ambient, or in fact most other electronic music sub-genres. Furthermore, one might even argue that over the last 10 years or so, this cross-genre influence has intensified significantly, in that there is now a situation that is more one of convergent paths, rather than localised hybridity.