When I first started working with computers and music, personal computers were not capable of what they can do now. In order to compose music, one needed to send signals from the computer to additional pieces of equipment such as tone generators and samplers. This created an enormous number of connections and often the maintenance of the equipment took more time than the creative endeavors.
Edward Lowinsky was one of the most prominent and influential musicologists in post-World War II America. His 1946 work entitled “The Secret Chromatic Art in the Netherlands Motet” was hotly debated in its time, spurring considerable research into the issues of musica ficta, a term used in European music theory to describe pitches, whether notated or added at the time of performance, that lie outside the system of “correct” or “true” music.