This book examines aspects of live electronic music from the overlapping perspectives of composition, performance and study. It presents neither a history nor a theory of this music, though we believe that it can contribute to both. It also does not endeavour to cover the topic comprehensively. Given the vast array of innovative musical practices that have been and continue to be associated with this term, no book could possibly undertake a comprehensive overview. The chapters should thus be seen as snapshots of a rapidly evolving object of study. They present an array of musicological research, in which some authors report on recent achievements while others contemplate unresolved problems that have arisen over the past half century. The book reflects on current practice and how we got where we are.