"Meanwhile the evolution of computer music in and for itself, as a
purely electronic art, is likely to be happening less in great
institutions than living rooms, and to be contributing to a rebirth of
domestic music as a creative art, with many millions of composers
pursuing their own fantasies, and communicating with others throught
computer networks."
(Paul Griffiths, Modern Music and After)

PARIS (30.12.2002) — Just as IBM's Deep Blue showed the
world a computer can play chess as well as a human master,
Eduardo Reck Miranda, a researcher for the Sony Computer
Science Laboratories Inc., aims to demonstrate a computer
program able to compose original music. So far, neural
networks have succeeded in imitating distinct musical styles,
but truly original compositions have remained elusive. Miranda
is tackling that problem with an orchestra of virtual musicians called agents that interact to compose original music.
(R. Colin Johnson, EE Times )

"And one has to face the fact that there are as many systems as there
are grains of sand, systems that can be dreamed up and set in motion
as easily as clockwork. Their number is probably infinite, but
certainly only a very few of them are acceptable systems, compatible
with their means of expression, and apaplicable without contradiction
to all dimensions of music. Of there, still fewer are so perfectly prefigured that they yeld beautiful and interesting music."
(Karlheinz Stockhausen, Texte)

"an informed listener cannot say that it is the sea in Debussy’s
composition of the same name … but once the title is known, one visualized the sea on hearing … La Mer."
(Claude Lévi-Strauss, Look, Listen, Read)

David Cope on Algoritmic music etc.
.

"You never know who made it. With this generative music that I
played you, am I the composer? Are you if you buy the system the
composer? Is Jim Coles (?) and his brother who wrote the
software the composer? -- Who actually composes music
like this? Can you describe it as composition exactly
when you don't know what it's going to be? "(Brian Eno)

"It was painters that who taught me the most about music." (Erik Satie)

In closing I address the question of whether or not there are icons
in Rautavaara's Icons. The work is very iconic in the semiotic sense,
but the iconicity is related toa kind of synaesthetic empathy with the
world of the Icons, and to the transalation of this synaesthetic
experience into musical language. (Eila Tarasti, teoksessa Musical
Semiotics Revisited, 2003, edited by Eero Tarasti)

Markku Nurminen toteutti vuonna 1967 IBM 1130 koneella
ns. tietokonetangon "Kesän muistatko sen". Aineistona oli
59 tangoa, jotka oli säveltänyt Toivo Kärki. Kuitenkaan
"varsinaisesti sävellys ei ollut tietokoneen säveltämä, vaan
'käsin tehty kooste' useasta ohjelman synnyttämästä
kappaleesta", jotka Toivo Kärki itse sovitti.
(Lähde: Petri Kuljuntausta, ON/OFF, Like 2002)