There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
I don't want to do free jazz! Because free jazz - which is the musical equivalent of free marketeering - isn't actually free at all. It's just constrained by what your muscles can do.
We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn't if you knew better.
There is a sort of convergence starting to happen between the computer and musical instruments, but it's still quite a long way off.
If you had a sign above every studio door saying ‘This Studio is a Musical Instrument’ it would make such a different approach to recording.