Abstract
Late in the summer of 1989, the readership of EMUSIC-L, a computer mailing list for the discussion of electroacoustic and computer music, expressed an interest in learning more about the history and development of musician-machine interfacing for electronic music performance. Since many of EMUSIC-L's readers are relatively new to the field of synthesis and not terribly well versed in the history of the genre, the author posted a series of five short articles briefly touching upon various historical landmarks and current trends in the fasci-
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