In this article (part 1 of a two-part article), the author notes that there is a lack of useful concepts and terminology that can be used when discussing the structuring of electroacoustic music, and that this is problematic in terms of establishing a deeper understanding of the art form. However, he also suggests that in terms of accepting or rejecting a work, such verbal descriptions are not necessary, as we have an innate ability to decide if it has a structure that appeals to us or not. In dealing with the issue of a lack of structural terminology, the author begins a process of identifying aspects of electroacoustic music that may be identified and categorised as structurally significant in terms of the listening experience.

(Parts 1 and 2 of this article are edited versions of a paper presented at the 1981 Electronic Music Conference in Stockholm)