Editing Computer music (section)

==Research==
There is considerable activity in the field of computer music as researchers continue to pursue new and interesting computer-based synthesis, composition, and performance approaches. Throughout the world there are many organizations and institutions dedicated to the area of computer and [[electronic music]] study and research, including the [[Center of Computer Research in Music and Acoustic|CCRMA]] (Center of Computer Research in Music and Acoustic, Stanford, USA), [[International Computer Music Association|ICMA]] (International Computer Music Association), C4DM (Centre for Digital Music), [[IRCAM]], GRAME, [[SEAMUS]] (Society for Electro Acoustic Music in the United States), [[Canadian Electroacoustic Community|CEC]] (Canadian Electroacoustic Community), and a great number of institutions of higher learning around the world.

===Music composed and performed by computers===
{{Main|Algorithmic composition}}

{{See also|Generative music|Evolutionary music|Genetic algorithm}}
Later, composers such as [[Gottfried Michael Koenig]] and [[Iannis Xenakis]] had computers generate the sounds of the composition as well as the score. Koenig produced [[algorithmic composition]] programs which were a generalization of his own [[serial composition]] practice. This is not exactly similar to Xenakis' work as he used mathematical abstractions and examined how far he could explore these musically. Koenig's software translated the calculation of mathematical equations into codes which represented musical notation. This could be converted into musical notation by hand and then performed by human players. His programs Project 1 and Project 2 are examples of this kind of software. Later, he extended the same kind of principles into the realm of synthesis, enabling the computer to produce the sound directly. SSP is an example of a program which performs this kind of function. All of these programs were produced by Koenig at the [[Institute of Sonology]] in [[Utrecht]] in the 1970s.<ref>{{cite journal|last=Berg|first=Paul|author-link=Paul Berg (composer)|title= Abstracting the future: The Search for Musical Constructs |journal=[[Computer Music Journal]]|year=1996|volume=20|issue=3|pages=24–27 [11]|publisher=[[MIT Press]]|doi=10.2307/3680818|jstor=3680818}}</ref> In the 2000s, [[Andranik Tangian]] developed a computer algorithm to determine the time event structures for [[Canon (music)|rhythmic canons]] and rhythmic fugues, which were then "manually" worked out into harmonic compositions ''Eine kleine Mathmusik I'' and ''Eine kleine Mathmusik II'' performed by computer;<ref>{{Cite journal|last=Tangian|first=Andranik|author-link=Andranik Tangian|year=2003|title=Constructing rhythmic canons|journal=[[Perspectives of New Music]]|volume=41|issue=2|pages=64–92|url=http://repmus.ircam.fr/_media/mamux/papers/tangian-2003-pnmcanons.pdf|access-date=January 16, 2021|archive-date=24 January 2021|archive-url=https://web.archive.org/web/20210124090024/http://repmus.ircam.fr/_media/mamux/papers/tangian-2003-pnmcanons.pdf|url-status=dead}}</ref><ref>{{Cite book|last=Tangian|first=Andranik|author-link=Andranik Tangian|year=2010|title=IRCAM, Seminaire MaMuX, 9 February 2002, Mosaïques et pavages dans la musique|chapter=Constructing rhythmic fugues (unpublished addendum to ''Constructing rhythmic canons'')|url=http://repmus.ircam.fr/_media/mamux/saisons/saison01-2001-2002/tangian_2002-2003_einekleinemathmusik_1-2_with-articles.pdf|access-date=January 16, 2021|archive-date=22 January 2021|archive-url=https://web.archive.org/web/20210122043156/http://repmus.ircam.fr/_media/mamux/saisons/saison01-2001-2002/tangian_2002-2003_einekleinemathmusik_1-2_with-articles.pdf|url-status=dead}}</ref>
for scores and recordings see.<ref>{{Cite book|last=Tangian|first=Andranik|author-link=Andranik Tangian|year=2002–2003|title=IRCAM, Seminaire MaMuX, 9 February 2002, Mosaïques et pavages dans la musique|chapter=Eine kleine Mathmusik I and II|url=http://repmus.ircam.fr/mamux/saisons/saison01-2001-2002/2002-02-09|access-date=January 16, 2021|archive-date=21 January 2021|archive-url=https://web.archive.org/web/20210121042242/http://repmus.ircam.fr/mamux/saisons/saison01-2001-2002/2002-02-09|url-status=dead}}</ref>

===Computer-generated scores for performance by human players===
Computers have also been used in an attempt to imitate the music of great composers of the past, such as [[Wolfgang Amadeus Mozart|Mozart]]. A present exponent of this technique is [[David Cope]], whose computer programs analyses works of other composers to produce new works in a similar style. Cope's best-known program is [[Emily Howell]].<ref>{{Cite news|last=Leach|first=Ben|date=2009-10-22|title=Emily Howell: the computer program that composes classical music|newspaper=[[The Daily Telegraph]]|url=https://www.telegraph.co.uk/culture/music/music-news/6404737/Emily-Howell-the-computer-program-that-composes-classical-music.html|access-date=2017-10-06}}</ref><ref>{{cite web|last=Cheng|first=Jacqui|date=30 September 2009|title=Virtual Composer Makes Beautiful Music and Stirs Controversy|url=https://arstechnica.com/science/2009/09/virtual-composer-makes-beautiful-musicand-stirs-controversy/|work=[[Ars Technica]]}}</ref><ref>{{Cite web|last=Ball|first=Philip|author-link=Philip Ball|date=2012-07-01|title=Iamus, classical music's computer composer, live from Malaga|url=http://www.theguardian.com/music/2012/jul/01/iamus-computer-composes-classical-music|url-status=live|access-date=2021-11-15|website=[[The Guardian]]|archive-url=https://web.archive.org/web/20131025233252/http://www.theguardian.com/music/2012/jul/01/iamus-computer-composes-classical-music |archive-date=25 October 2013 }}</ref>

[[Melomics]], a research project from the [[University of Málaga]] (Spain), developed a computer composition cluster named [[Iamus (computer)|Iamus]], which composes complex, multi-instrument pieces for editing and performance. Since its inception, [[Iamus (computer)|Iamus]] has composed a full album in 2012, also named [[Iamus (album)|''Iamus'']], which ''[[New Scientist]]'' described as "the first major work composed by a computer and performed by a full orchestra".<ref>{{cite magazine|title=Computer composer honours Turing's centenary|magazine=[[New Scientist]]|date=5 July 2012 |url=https://www.newscientist.com/article/mg21528724.300-computer-composer-honours-turings-centenary.html}}</ref> The group has also developed an [[API]] for developers to utilize the technology, and makes its music available on its website.

==={{anchor|Computer-Aided Algorithmic Composition}}Computer-aided algorithmic composition===
[[File:GenSystemVenn.png|thumb|right|Diagram illustrating the position of CAAC in relation to other [[generative music]] systems]]
Computer-aided algorithmic composition (CAAC, pronounced "sea-ack") is the implementation and use of [[algorithmic composition]] techniques in software. This label is derived from the combination of two labels, each too vague for continued use. The label ''computer-aided composition'' lacks the specificity of using generative algorithms. Music produced with notation or sequencing software could easily be considered computer-aided composition. The label ''algorithmic composition'' is likewise too broad, particularly in that it does not specify the use of a computer. The term [[computer-aided]], rather than computer-assisted, is used in the same manner as [[computer-aided design]].<ref>Christopher Ariza: ''An Open Design for Computer-Aided Algorithmic Music Composition'', Universal-Publishers Boca Raton, Florida, 2005, p. 5</ref>