Although there were various isolated experiments in ‘electronic music’ dating back to the early years after the discovery of electricity (e.g. the Theremin), electro-acoustic music began to establish itself as a new field of musical composition in the immediate postwar period. Electronic music centers in the US and in Europe helped to improve the technological and musical possibilities available to composers. By the 1980s, a flourishing music technology industry had reached out beyond specialist composers to the general public. Keyboards, sequencers, samplers and other electronic musical equipment, linked by MIDI (an industry-wide standard interface) brought electronic music within the hands of people who might not have been able to make music before. But perhaps even more significantly the world of electronic music has provided trained composers an opportunity to realize their more "symphonic" aspirations, as indeed many larger ensembles and symphony orchestras have all but closed their doors to "new" music. At Inscriptions ’05, guitarist Dr. Matt Gould and violinist Beth Ilana Schneider, better known as Duo46, will present new music for guitar and violin with digital sounds: Syncronisms #10 for Guitar and Tape by Pulitzer Prize winning composer Mario Davidovsky, a commissioned work “Playing with your Past” for Guitar and Violin with Tape by Allan Segall of Amsterdam, and “The Great Octopus” for Guitar and Tape by Paul Richards.