Original sentence: Electroacoustic music is typically less preoccupied with the “traditional” concerns of score-based music —(metric) rhythm, harmony and melody—and more concerned with the interplay of gesture and texture, and what Denis Smalley has termed "spectromorphology" (Smalley 1997).While all electroacoustic music is made with electronic technology, the most successful works in the field are usually concerned with those aspects of sonic design which remain inaccessible to either traditional or electronic  musical instruments played live (Eimert 1957, 1–2)
Edited sentence: One view is that electroacoustic music is less preoccupied with the “traditional” concerns of score-based music —(metric) rhythm, harmony and melody—and more concerned with the interplay of gesture and texture, and what Denis Smalley has termed "spectromorphology" (Smalley 1997).This particular view is characteristic of an electroacoustic language called 'acousmatic', but as the field has been embraced in more non-european countries, this particular definition now appears more and more euro-centric.While all electroacoustic (ea) music is made with electronic technology,- characterized by the presence of a loudspeaker as the transducer, in a definition more than half a century old, Herbert Eimert proposed that the most successful works in the field are usually concerned with those aspects of sonic design which remain inaccessible to either traditional or electronic  musical instruments played live (Eimert 1957, 1–2).While this was true into the 1980s, digital technologies have changed the concept of whether electroacoustics is about 'sound' - the acoustic phenomena, or about the 'signal', the electronic aspect