In a contemporary context, any sound can now be generated by a computer, yet composers still remain fascinated by developing extended techniques for different instruments. We can see that this kind of exploration cannot be separated from the instrument’s own definition; in this sense, it is similar to Pop Art, because if it is detached from the object’s original definition, the deconstruction loses its meaning. So how do we define whether a sound has moved beyond the definition of music itself? This is a question that emerged for me after engaging with contemporary music, and these reflections also led to one of my works.