Is modularist community overwhelmingly a nation of music lovers or technicians?
-- Sweelinck
Yes, absolutely.
These days, music and technology are so intertwined that you can't exactly separate them. See that drum circle over there? OK...now, what they're doing might SEEM like getting back in touch with primitive whatever blahblah, but if you look at what they're playing, you start seeing synthetic drumheads, devices that (these days) are carefully researched to create the optimal thudding noises everyone likes (OR NOT!!!) in commercials for SUVs to get numnutz consumers to pay attention and fork out for something they don't need, etc. And if you RECORD that drum circle...well, then you're up to your chin in tech all of a sudden!
Conversely, if we didn't have that tech, we wouldn't be in such a musically-rich period right now. Not only does the presence of cheap and easily-available technology propel the creation of new music, it ALSO allows for everyone to be able to access musical styles, cultures, and periods that...prior to the emergence of proper electronic recording technology in the mid-1920s...would've been lost to time. Consider: there's long been arguments of how early music is supposed to be performed. But there are ZERO arguments of how, say, Stravinsky's music is supposed to be performed, because you had the tech to record how Stravinsky actually wanted it across several decades of his life.
Also, most music we hear now technically IS "electronic" by default. One of the original criteria for electronic music was that it could only be heard with loudspeakers. But then, what do you make of a recording of the Cleveland Orchestra conducted by George Szell? For one thing, Szell's death in 1970 pretty much assures that ONLY recordings of his performances now exist; I don't see any concert announcements that read "MAESTRO SZELL RETURNS FROM THE GRAVE!!! ONE NIGHT ONLY!!!" Secondly, the confluence of players in the orchestra, the hall used for the sessions, etc etc also implies a non-reproduceable live performance situation. So...you're stuck with what's coming out of the speakers, and arguably, that makes it fit that criteria. Plus, should you so desire, you can take those Szell recordings (with a dubious degree of legality) and repurpose them in the same DAW that takes in those raw synth waveforms and does...well, much the same thing there, too.