Electroacoustic music did not stop at the GDR either: Western works were received and even if there were only suitable studios in the GDR from the mid-1980s, some composers found creative ways to deal with electroacoustic sound generation and processing . In the present volume, the driving actors and institutions, which in addition to studios, festivals and ensembles belonged, are highlighted. The question of how the electroacoustic means of composition were used in the works that were created in the GDR and whether there was a connection here with the aesthetic guidelines of GDR cultural policy will also be investigated. On the basis of contemporary reviews of electroacoustic works and performances, it is shown how a change in the GDR cultural policy is taking place, especially in the assessment of the relationship of the performing musician to technology, from inhuman to progressive.