"Electronic music is not one single genre but rather a nexus of numerous genres, styles, and subgenres, divided not only geographically but also institutionally, culturally, technologically, and economically. Because of this breadth of activity, no one single participant or informant can speak about all of electronic music with equal facility."*

Traditionally viewed, electronic composition focuses on the creation of sound itself via electronic means, i.e., synthesis/sampling/signal processing, both as a compositional act and as the final artefact. Electronic compositions can and should be understood from a historical perspective--in the tradition of Pierre Schaeffer’s musique concrète as well as the electronic music of Koenig, Xenakis, Radigue, or Stockhausen, or indeed the computer music of the USA from the 1960s onwards--but the field continues to develop and expand. It includes various new approaches, many of them hybrid, bespoke, and influenced by fields outside of music itself, including but not limited to gaming, computer science, and electronic engineering. The field of live electronics forms a central link between electronic and instrumental composition and is impossible to overlook in the contemporary musical landscape. Overall though, the electronic music we focus on in anenome is art-music in which electronics played a fundamental and indispensable role in the development of the aesthetic experience. (Michael Edwards)

* Roads, Curtis. Composing Electronic Music: A New Aesthetic (p. xii). Oxford University Press 2015