Abstract
This is an examination of the current state of the art in the computer composition of music. David Cope’s EMI (Experiments in Music Intelligence) project is examined as a representative of this state of the art. Both its assets and its liabilities are considered. However, the conclusion is that the matter of whether or not a computer will ever be a successful composer may not be that appropriate a question. Music is “in the ear of the listener;” and audiences listen to performances rather than compositions. The quality of performance often overrides whether what is being performed has come from a struggling genius, a commercial hack, chance decisions, or even a computer program.
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