In the late 20th-century, as tape parts and live electronics became more common in avant-garde classical music, various novel conventions arose to represent the electronic part on the score. This was not so people could duplicate the electronic parts themselves – they had often been painstakingly created in centers like IRCAM over months, and so they were provided to performers on a tape or as a collection of software. But the representation of the electronic part on the score helped the human performers playing their traditionally-noted parts keep in time with the electronics.