Electroacoustic music, since its inception, has been situated in a cross-disciplinaryno-man's-land, with areas of interest spread in many directions; fromideas of musical structures ordered through traditional pitch-classes to researchon physical modelling and analysis of sound and compositional structures through theuse of neural networks. Much of the material found in computer music has been developedthrough processes of appropriation, both from sound recordings of physical eventsand from the application of various principles found in the natural sciences.