In this chapter, the author argues that electroacoustic music does not appear to have an identity within the greater bodies of contemporary and popular music; instead it has carved itself a niche within the academic and art music community. He states that the optimistic approach of assuming that non-electroacoustic audiences do not have the training to be sufficiently informed in terms of electroacoustic art music appreciation, may be idealistic optimism. The reality could be that contemporary composers are not speaking to anyone outside the institutions that shelter them and modern musical discourse has become so insular and private that outsiders cannot hope to decode the messages.