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This paper explores the rise and role of technical and commercial logics within the Stanford University music department. I examine the initial framing of these novel activities in terms of musical composition, and the subsequent interaction between technical, commercial and musical logics over a thirty-year period. Ultimately, positive feedbacks between the various logics have led to a mutual dependence, solidifying the centrality of musical composition within the department while underscoring the complementary role of technical and commercial endeavors.