As recently as the 1960s, electronic music was considered the domain of cognoscenti, the radical-chic, and the avant-garde. More recently, a survey of professional instrumental musicians working in the "music industry" found that only six percent played "horns," i.e., acoustic instruments.1 Amazing as that statistic is, it's even more remarkable when one considers that as recent as 1960, only thirty-five years ago, these numbers were probably reversed, with as many as ninety percent of professional instrumental musicians performing on acoustic instruments (horns) and the remainder on electric guitars, the Fender Rhodes piano, and prototypical synthesizers. If my estimate is even remotely accurate, we have within less than two generations witnessed a reversal of the preferred means by which the largest segment of professional musicians make music. The result is that the vast majority of music heard today by most Americans comes from sounds that are synthesized, sampled, sequenced, and otherwise processed using MIDI technologies.
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