In this article, the author notes that the vast majority of the music made and heard is now actually electroacoustic music and that this condition is part of a much larger cultural shift from print-based and, in music, notation and live performance-based information and communication systems towards those increasingly determined by electronic media. He explores some of the conditions of electroacoustic music from the premise that art is, and always has been, ultimately about power and the processes of empowerment.