Since electroacoustic technology has made it possible to utilise a sounding repertory no longer restricted to a pitch-based model it allows composers to create a music in which timbral possibilities are more fully explored but at the same time imposes new demands on its audience. In this article, the author examines the extent to which there are perceptual dilemmas for listeners, and focuses on two interrelated developments: source recognition and human presence in electroacoustic music. She also discusses new analytical processes that are demanded of the electroacoustic music listener.