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finished writing for now

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松浦 知也 Matsuura Tomoya
2025-01-28 08:06:13 +00:00
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abstract.tex
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In this paper, the author introduces the perspective of “Somewhat Weak Computer Music” in order to describe the history of programming languages for music without being bound by the style of computer music, and conduct a critical review of the history programming languages for music. This paper focuses on a critical review of the post-acousmatic discourse, which is an inclusive notion for recent tendencies in computer music. The universalism associated with pulse-code modulation, which is the basis of sound programming today, has functioned as a discourse that invites expectations of musicians and scientists, even though in reality the range of expression is limited to that era. In addition, the MUSIC-N family, which is the origin of sound generation with a computer based on PCM, is contextualized more as a series of workflows for generating sound on a computer rather than as a semantics and specification of programming languages, and it has gradually developed as a black box that users do not need to understand its internal structure. The author concludes that programming languages for music developed since the 1990s are not necessarily aimed at creating new musical styles, but also have the aspect of presenting an alternative to the technological infrastructure around music, such as formats and protocols which is becoming more invisible, and a new point of discussion is presented for future historical research on music using computers.
This paper critically reviews the history of programming languages for
music by referring discussions from sound studies, aiming to describe
this history decoupled from computer music as a form/community. This
paper focuses on critiquing the discourse of Post-Acousmatic, which
inclusively addresses recent trends in computer music. The universalism
associated with pulse-code modulation (PCM), which is basic assumption
of today's sound programming, has functioned as a discourse that shapes
musicians' expectations historically, despite the fact that its
expressive range has several limits. Also, this paper points out that
the MUSIC-N family, which formed the foundation of PCM-based sound
synthesis, is contextualized not as programming languages in terms of
their syntactic or semantic properties, but as a lineage of workflows
for generating sound on computers, and these systems have evolved into
black boxes that minimize the need for users to understand their
internal structures over time. The paper concludes that programming
languages for music developed since the 2000s function as a means of
presenting alternatives to the often-invisible technological
infrastructures surrounding music, such as formats and protocols, rather
than solely aiming to create novel musical styles. This conclusion paves
the way for future discussions in this research area.