In Swedish we have two words for ``composer'': ``tonsättare'' and ``kompositör''. The two words reflect the two aspects of being a composer, on the one hand an individual who creates a truly unique artifact of music (in EAM concretized into sound), and on the other an individual who selects material from his/her surrounding and puts them together, ``composes'', in interesting ways.
With the new communication technology the latter kind of a composer is particularly supported, while the previous developments in computer supported sound production (music-CAD) has emphasized the aspects of individual control of the sounding material. The easy access to stored material can emphasize a style of composing leading to various legal and esthetic problems with using copyrighted original material by others, something which will be delt with in various ways, including various authentication and encryption techniques.
ISDN has been used by the experimental group ``Future Sounds of London'' in ``live'' radio transmissions directly from the studio over to several radio transmitters in different countries. The performances were also recorded on a CD-record and published in a limited edition (which is how I got to know about it). The liner notes comment that ``The potential was immediately there for media games - we could turn it into a death of rock 'n' roll statement - it was more to do with getting away from the great bastion of the music industry - the PERFORMANCE - journalists who wanted to watch us perform were missing the point - we were evolving a new mechanism not based on the spectacle. Of course like most areas we find ourselves in a lot of questions arose and not all good. Art galleries quickly came on board for transmissions - without being in control of the environment into which we were transmitting we were worried - was piped musak the answer to the lost dynamic? We didn't think so - even if history was being made. Anyhow radio was merely the stop-gap for something far more interesting?''.