Since the publication of Pierre Schaeffer’s Solfège in 1966 there have been many conflicting arguments with regard to both perception-based analysis theories and computational analytical methods.1 Debate has ensued regarding the problem of representation of information in acousmatic music and the development of a universal method of notation, where a score-format is paramount to the analysis of a work. In essence, acousmatic music exists as work for tape, created by the composer without a score or the employment of traditional instruments, and experienced by the listener through loudspeakers. Taking into account existing methods of scoring and the question of the use of traditional notation, this article will suggest that a written score is both unnecessary for the successful analysis of acousmatic music and invalid due to the exclusivity of its content and the relationship of its author to the actual work. It will argue that the search for a universal method of notation along with one absolute method of analysis is unattainable due to certain restraining factors. In examining the theory of perception, the article will demonstrate that human perception is an important basis for analysis and supersedes any notational concept. It will suggest, however, that a more inclusive consideration of all approaches is necessary. In conclusion, a combinational model which draws upon and develops existing analysis methodology (perceptual and computational) will be proposed.