Editing Computer music (section)

=== In Japan ===
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In Japan, experiments in computer music date back to 1962, when [[Keio University]] professor Sekine and [[Toshiba]] engineer Hayashi experimented with the {{ill|TOSBAC|jp|vertical-align=sup}} computer. This resulted in a piece entitled ''TOSBAC Suite'', influenced by the ''Illiac Suite''. Later Japanese computer music compositions include a piece by Kenjiro Ezaki presented during [[Osaka Expo '70]] and "Panoramic Sonore" (1974) by music critic Akimichi Takeda. Ezaki also published an article called "Contemporary Music and Computers" in 1970. Since then, Japanese research in computer music has largely been carried out for commercial purposes in [[popular music]], though some of the more serious Japanese musicians used large computer systems such as the ''[[Fairlight (company)|Fairlight]]'' in the 1970s.<ref name="shimazu104">{{cite journal|last=Shimazu|first=Takehito|title=The History of Electronic and Computer Music in Japan: Significant Composers and Their Works|journal=[[Leonardo Music Journal]]|year=1994|volume=4|pages=102–106 [104]|url=https://www.scribd.com/doc/93116556/The-History-of-Electronic-and-Experimental-Music-in-Japan|access-date=9 July 2012|publisher=[[MIT Press]]|doi=10.2307/1513190|jstor=1513190|s2cid=193084745|url-access=subscription}}{{Dead link|date=May 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>

In the late 1970s these systems became commercialized, including systems like the [[Roland MC-8 Microcomposer]], where a [[microprocessor]]-based system controls an [[analog synthesizer]], released in 1978.<ref name="shimazu104"/>  In addition to the Yamaha DX7, the advent of inexpensive digital [[Microprocessor|chips]] and [[microcomputer]]s opened the door to real-time generation of computer music.<ref name="dean1"/> In the 1980s, Japanese personal computers such as the [[NEC PC-8801|NEC PC-88]] came installed with FM synthesis [[sound chip]]s and featured [[List of audio programming languages|audio programming language]]s such as [[Music Macro Language]] (MML) and [[MIDI]] interfaces, which were most often used to produce [[video game music]], or [[chiptune]]s.<ref name="shimazu104"/> By the early 1990s, the performance of microprocessor-based computers reached the point that real-time generation of computer music using more general programs and algorithms became possible.<ref>{{harvnb|Dean|2009|pages=4–5}}: "... by the 90s ... digital sound manipulation (using MSP or many other platforms) became widespread, fluent and stable."</ref>