Editing Electronic musical instrument (section)

=== Computer music ===
{{multiple image |align=right |direction=horizontal
|caption1 = [[Max Mathews]] (1970s) playing realtime software instrument.
|image1   = <!--Mathews260.jpg apparently deleted --> |width1=117
|caption2 = [[ISPW]], a successor of [[Sogitec 4X|4X]], was a DSP platform based on [[Intel i860|i860]] and [[NeXT Computer|NeXT]], by [[IRCAM]].
|image2   = ISPW - IRCAM Signal Processing Workstation.jpg |width2=153
}}
{{main|Computer music|Software synthesizer}}
An important new development was the advent of computers for the purpose of composing music, as opposed to manipulating or creating sounds. [[Iannis Xenakis]] began what is called ''musique stochastique,'' or ''[[stochastic music]]'', which is a method of composing that employs mathematical probability systems. Different probability algorithms were used to create a piece under a set of parameters. Xenakis used graph paper and a ruler to aid in calculating the velocity trajectories of [[glissando]] for his orchestral composition ''Metastasis'' (1953&ndash;54), but later turned to the use of computers to compose pieces like ''ST/4'' for string quartet and ''ST/48'' for orchestra (both 1962).

The impact of computers continued in 1956. [[Lejaren Hiller]] and [[Leonard Issacson]] composed ''[[Illiac Suite]]'' for [[string quartet]], the first complete work of computer-assisted composition using [[algorithm]]ic composition.<ref>{{cite book|last =Schwartz|first = Elliot|date =1975|title= Electronic Music: A Listener's Guide|publisher = Praeger|page = 88|isbn =  9780275537302}}</ref>

In 1957, [[Max Mathews]] at [[Bell Lab]] wrote [[MUSIC-N]] series, a first computer program family for generating digital audio waveforms through direct synthesis.  Then [[Barry Vercoe]] wrote [[MUSIC-N|MUSIC 11]] based on [[Music 4|MUSIC IV-BF]], a next-generation music synthesis program (later evolving into [[csound]], which is still widely used).

In mid 80s, [[Miller Puckette]] at [[IRCAM]] developed graphic signal-processing software for [[Sogitec 4X|4X]] called [[Max (software)|Max]] (after Max Mathews), and later ported it to [[Apple Macintosh|Macintosh]] (with [[Dave Zicarelli]] extending it for [[Opcode Systems|Opcode]]<ref>{{cite web|last = Ozab|first = David |url = http://www.atpm.com/6.05/barline.shtml |title = Beyond the Barline|website = ATPM|date = 2000}}</ref>) for real-time [[MIDI]] control, bringing algorithmic composition availability to most composers with modest computer programming background.