ABSTRACT
The hardware and software used to realize an electroacoustic music composition exerts a major influence on the creative processes, the selection of effective composing strategies and the quality of the sounds produced. This paper examines some aspects of the relationship between the concepts and procedures embodied in a work and their realization via the human-machine interface in general. It also explores the degree to which certain compositional procedures may arise directly from the architecture of devices in the production chain in contrast to either compositional planning or aural necessity.
