“…The first three articles explore or problematise the early roots of electroacoustic music. Two of these (Lautour, Cox) address the context within which musique concrète emerged in the 1930s and 1940s, and thus ‘open the black box’ (Latour 1987: 1–17) of a creative practice that is taken as axiomatic in many accounts of electroacoustic music’s history. The other (Wilson) goes even further and bypasses that context altogether, replacing it with a series of vignettes from the nineteenth century that have rarely if ever found their way into the standard accounts.…”