This article may be considered the outline of an ongoing study of different types of structural concepts, and their referential or non-referential content, in electroacoustic, computer and mixed music composed mostly in French electroacoustic music studios (GRM, IRCAM, UPIC, GMEM, etc.). This analytical study began in Hungary in 1988, in the course of a broadcast series on certain chapters of the history of electroacoustic music. The study later investigated narrativity in electroacoustic music, and then incorporated a more complex typology embracing formal, structural approaches in about thirty characteristic works composed since the 1970s.