Is it true?

It was here, half a dozen years ago, that Cope put Emmy to sleep. She was just a software program, a jumble of code he’d originally dubbed Experiments in Musical Intelligence (EMI, hence “Emmy”). Still — though Cope struggles not to anthropomorphize her — he speaks of Emmy wistfully, as if she were a deceased child.
Emmy was once the world’s most advanced artificially intelligent composer, and because he’d managed to breathe a sort of life into her, he became a modern-day musical Dr. Frankenstein.

His second creation, Emily Howell, is creating modern music, letting go of the problem Emmy had, with recreating works by great composers or in their style.

But what does it say for musicians? Will art go away as we see software creating it?

Read more inTriumph of the Cyborg Composer.