In this article, the author examines the state of the art (1998) in the computer composition of music, utilising David Cope's EMI (Experiments in Music Intelligence) project as a representative example - discussing its assets and its liabilities. He argues that the question as to whether or not a computer will ever be considered to be a successful composer is moot, as it is the quality of performance as perceived by the concert audience that overrides whether what is being performed has come from a struggling genius, a commercial hack, chance decisions, or even a computer program.