Charles Reece has a good post on the Amoeba blog about music pioneer Pierre Henry and his disdain for later developments in the field:
"I think it's a big mistake to call today's music electronic music[.] People do things with computers and samples but it's not the same approach as the way I work, or how Karlheinz Stockhausen worked in his electronic pieces. There is not the same craft, and it's not progress."
Reece goes on to apply Thomas Kuhn's scientific paradigm concept:
I'd suggest that something similar happens with genres of music -- or any art, really. A musical discovery, such as musique concrète, won't fit any known genre, or system, of music at first, and might even be irritating noise to the vast majority who encounter it, but once it begins to accrete followers, it's only a matter of time before its methodology is codified, and commercialized. That is, with an art form's acceptance comes the potential for market exploitation....Through his own revolution, John Cage helped codify noise as music, which has now been turned into a trendy sub-genre of rock and roll -- likewise, Eliane Radique's explorations in drone.