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Why electronic music has a long way to go in terms of innovation

Electronic music is now on the verge of becoming the dominant music format in the world, but a long-standing debate about how to create music that transcends genre and language is still raging.

Here’s a look at some of the biggest questions, with the answers to them provided by two of the world’s leading experts on the genre.

Electronic music is a huge genre with an immense audience.

According to Nielsen Music, in 2017 there were more than 7.7 billion people playing electronic music worldwide.

(And of those, more than half of them played it on headphones, or headphones with a microphone.)

In addition to the billions of dollars that electronic music is making in royalties, there’s also the fact that many of these artists are also recording the music for free.

There’s even an entire industry of artists who are releasing their music for download and then paying a small royalty to the artists who created the original music.

While it’s difficult to say how big a market this genre will have in the years to come, there are plenty of potential players.

In the short term, some artists may find a way to monetize their music, but it won’t be long before many other artists find themselves forced to shut down or change their sound.

In the long term, this could mean that there’s no longer a place for the genre, or that it will go extinct.

“The future of electronic music depends on how the artists respond to these demands,” said Mark Johnson, professor of music at University of Toronto Scarborough.

Johnson’s new book, Electronic Music: The Future of the Music Industry, is based on his years of research on the history and current trends in electronic music.

The book focuses on the music industry, but Johnson says the topics covered range from how to make music that’s more appealing to how to increase the visibility of music, such as through streaming services.

For example, he points out that there are currently more than 500 million streaming music services, but that only about 5 percent of them cater to the electronic music industry.

He argues that this will change over time.

“It will become more and more of a big business,” Johnson said.

“This industry will become the dominant part of the music business.”

“This is a very big industry, and it has been for a long time,” he said.

Johnson said he thinks it’s likely that the next wave of artists to emerge from the electronic scene will be those who create music based on sound, rather than aesthetics.

“They are the ones who are creating the music, and then they’re going to create the technology to make it,” he explained.

Johnson noted that there have been a lot of artists in the electronic field who are making music that is really based on technology, rather that what they’re trying to express.

“They’re really trying to get into the music market with technology, not to express it,” Johnson noted.

“There are a lot more people who are doing that now, and there will be a lot less.”

He said that this is not necessarily a bad thing, but the question of whether music should be made with technology or not is a debate that is still ongoing.

“There are certain artists who have really been making music based purely on technology for years, and they’ve become very famous,” he added.

“It’s a very different music from what they used to be.”

Johnson said that the most recent trend of technology-driven music has been to “break up the boundaries of the genre.”

“There’s a lot in the current technology market, especially with streaming, that’s just really different,” he told the Toronto Star.

“You have a lot [of] artists that are making electronic music in a way that is very different from what the previous generation was making.”

The fact that some of these producers are making a living off of their music is an important part of this shift, Johnson added.

“If you look at the history of the electronic industry, if you look back at what the music that was made at the turn of the last century and beyond was, and you look to what’s happening today, it’s not a good place to be making music,” he noted.

“People don’t want to listen to this music anymore.

I think the music needs to be played loud and clear.”

Johnson’s book is the latest of several he has written about the future of the musical world.

His first book, The Digital Divide: Why Technology Is Killing the Music Business, was published in 2014 and has since been nominated for a Grammy Award for best book.

In his latest book, A Sound of Music: From Vinyl to Streaming, he outlines his plan to “re-educate the world about the music and music-making processes.”

The latest edition of the book is out in the U.S. and Canada, and Johnson has also recently begun publishing new material for the Internet Archive and iTunes.

The book covers topics such as how to promote music in the digital age

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