Celebrating its fiftieth birthday in the late 1990s, electroacoustic music and its associated musicology are very much alive, but not necessarily as well as they might be. This text investigates why musicology is not supporting electroacoustic music adequately making various areas of the field relatively inaccessible. Its focus is the notion of triangulation, that is, investigating whether intent and reception (or application) coincide. Its thesis is: if triangulation were to be increased in all aspects of electroacoustic music, the communities' work would become more accessible and, similarly, there would be greater cohesion in its music, research and technological development which would do no one any harm.