A catalyst for the thinking in this paper is the way in which the concentrated direct audition of materials central to the process of electroacoustic composition can, in conjunction with powerful tools for the deconstruction and synthesis of sounds, influence the nature of musical relationships that are formed. The author has chosen to focus analytical examples on one particular kind of iteration-based morphology, namely the use of impulse-based morphologies and their patterning in time as pulses that increase in speed to form an accelerando, in particular in Denis Smalley's Wind Chimes and Trevor Wishart's Tongues of Fire and Imago. Reference is also made to the fact that morphological identity can spring from the inherent shape characteristics of naturally occurring sound objects, as well as the morphological artefacts of signal processing routines.