Standing on the shoulders of giants such as Bartok or Berio, I recently finished writing an ensemble piece title Bastard Tunes. The piece was composed with the help of a machine learning system trained on transcriptions of Celtic music. The system produces short melodies that share many characteristics with the style it learned. But, with the possible exception of the fourth Bastard Tune, my piece applies more freedom in the way the system's output is used as compositional material. The piece will be premiered in a concert with other examples of music composed by and with computers.
Listening to the snare drum in the quieter bits in this recording (e.g. around 20 sec. in):
This is not sloppy playing, but a deliberate, and fascinating, offset. We all too often forget these kind of nuances - things that happen in-between the beats and that are difficult to capture and analyse.
120years.net provides a wealth of information on developments in electronic music.
"The focus of this project is in exploring the main themes of electronic instrument design and development previous to 1970 (and therefore isn’t intended as an exhaustive list of recent commercial synthesisers or software packages.) As well as creating a free, encyclopaedic, pedagogical resource on the History of Electronic Music"