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Algorithmic Roots: Music Mouse Revived After 40 Years

algorithmic music Laurie Spiegel Music Mouse Eventide MIDI synthesizer computer music AI music
February 17, 2026
Source: The Verge AI
Viqus Verdict Logo Viqus Verdict Logo 8
Analog Heart, Digital Hands
Media Hype 6/10
Real Impact 8/10

Article Summary

Laurie Spiegel’s Music Mouse, created in 1986, is experiencing a resurgence with a new version developed in collaboration with Eventide. Originally designed for the Macintosh, Atari, and Amiga, Music Mouse provided a unique way to explore algorithmic music creation, allowing users to manipulate sound through a mouse interface. Spiegel herself, a Bell Labs veteran involved in early digital synthesis experiments, saw the computer mouse as a novel input device, leading to the creation of an “intelligent instrument.” The new version, released in 2026, retains the core functionality of the original, focusing on scales and harmonies, while incorporating improvements like a more robust synthesizer and MIDI features. Importantly, Spiegel emphasizes that Music Mouse is not an AI; it's a tool for human creativity, much like a traditional instrument. The project highlights the early days of computer music experimentation and how technology can inspire and augment human musical expression. The revival also touches upon the ongoing debate about the role of AI in creative fields, framing Music Mouse as a testament to the idea that engaging with technology can foster genuine human artistry, rather than simply automating it.

Key Points

  • Music Mouse, created in 1986 by Laurie Spiegel, was a groundbreaking tool for algorithmic music composition, using a mouse to manipulate sound.
  • Spiegel initially saw the computer mouse as a novel input device, leading to the creation of an ‘intelligent instrument’ for musical exploration.
  • The new 2026 version, developed with Eventide, maintains the core functionality of the original, representing a revival of early computer music experimentation.

Why It Matters

This news is significant because it represents a nostalgic return to the roots of computer music and highlights the early experiments in algorithmic composition. It speaks to a broader conversation about the evolution of music technology, and how even seemingly simple tools can spark profound creative exploration. Moreover, the framing of Music Mouse as a ‘folk instrument’ – a tool created and used by individuals – underscores the enduring connection between music, human expression, and cultural innovation. This story is relevant to professionals in music technology, digital art, and anyone interested in the history and future of creative tools.

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