reduced pages

abstract.tex

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 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.
+this history decoupled from computer music as a genre/community. The
+paper focuses on the universalism around Pulse-Code Modulation (PCM) and
+Unit Generator concept established by MUSIC-N family, which actually
+made lineage of role between composer and scientists which tends to turn
+composers into consumers. The paper concludes that programming languages
+for music developed after 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.