"To illustrate this point in the field of musical instruments, we see that the piano keyboard ‘tells us’ that microtonality is of little importance (and much Western music theory has wholly subscribed to that script); the drum-sequencer that 4/4 rhythms and semiquavers are more natural than other types; and the digital audio workstation, through its affordances of copying, pasting and looping, assures us that it is perfectly normal to repeat the same short perfor- mance over and over in the same track. It is therefore germane to ask ourselves how much theory is inscribed into our new tools, particularly with regard to how automated, structurally complex and aiding (in composition and performance) our new musical instruments have become."