There's a thing, a pride in the 'right' sound , it is like the first man on the moon, or the best star wars character in the playground or the nearest guitar for the Jimi Hendrix solo or the best plastic kit for the unique John Bonham room sound. (Hassle hustle etc) The invention of synthesisers & then memory in the 50's caused a shift from choosing the "Steinway sound or the Bosendorfer sound" (if you had major label support or an Australian benefactor,) to the invention of alternatives, analog sounds with memories. The memory meant Instead of the snake patch leads, a tiny cube of RAM holds settings of VCA LFO ENV OSC VCF CV FM TRIG PITCH (yawn its quite technical) with one press all of the snake patch leads are recalled just as if Bob Moog himself had set up your keyboard for the next overture of Bach.
So not only would music composers be required to think of notes, rhythms, chords and percussion, patch names for synthesis became part and parcel of the incarnation of works that could be reproduced by other artists.
With the invention of sample & hold of analog oscillations came the revolutionary idea of capturing audio in samples. One key performed triggered reproductions of essentially what was another persons job. Ideal if cost cutting or floating new projects with limited budget or experimenting to find if the concept was viable. Of course these one key wonders introduced chains of degradation, loss of earnings in manufacturing, the demise in being able to create the original sound the original way ,in so far as the short cut made "grope" sound like "fondu", the difference in wave strength is akin to having a picture or not if your tv aerial or satellite receivers not working.