The principal force of electroacoustic music in the past is the interdisciplinary with art, technology and research. Barry Truax analyses the actual situation of electroacoustic music's composers: their freedom in front of instrumental music and institution, the listener, the nonexistence in the medias, and their relation with technologies. He also tries to image the future trends. This article appears in revised form in “Organised Sound” Vol. 4(3), Truax 1999b.