Composers are not limited to writing only for instruments, they may also decide to write for voice (including choral works, some symphonies, operas, and musicals). Composers can also write for percussion instruments or electronic instruments. Alternatively, as is the case with musique concrète, the composer can work with many sounds often not associated with the creation of music, such as typewriters, sirens, and so forth. In Elizabeth Swados' Listening Out Loud, she explains how a composer must know the full capabilities of each instrument and how they must complement each other, not compete. She gives an example of how in an earlier composition of hers, she had the tuba playing with the piccolo. This would clearly drown the piccolo out. Each instrument chosen to be in a piece must have a reason for being there that adds to what the composer is trying to convey within the work.
composers are not limited to writing only for instruments they may also decide to write for voice (including choral works some symphonies operas and musicals) composers can also write for percussion instruments or electronic instruments alternatively as is the case with musique concrète the composer can work with many sounds often not associated with the creation of music such as typewriters sirens and so forth in elizabeth swados' listening out loud she explains how a composer must know the full capabilities of each instrument and how they must complement each other not compete she gives an example of how in an earlier composition of hers she had the tuba playing with the piccolo this would clearly drown the piccolo out each instrument chosen to be in a piece must have a reason for being there that adds to what the composer is trying to convey within the work