applied fix from proofing

abstract.md

@@ -1 +1,2 @@
-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 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. 
+This paper critically reviews the history of programming languages for music, distinct from computer music as a genre, by drawing on discussions from sound studies. The paper focuses on the universalist assumptions around pulse-code modulation and the Unit Generator concept established by the MUSIC-N family, which established a lineage of role between composers and scientists which tends to turn
+composers into consumers. The paper concludes that programming languages for music developed after the 2000s present alternatives to the often-invisible technological infrastructures surrounding music, such as formats and protocols, rather than solely aiming to create novel musical styles.

abstract.tex

@@ -1,11 +1,2 @@
-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 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.
+This paper critically reviews the history of programming languages for music, distinct from computer music as a genre, by drawing on discussions from sound studies. The paper focuses on the universalist assumptions around pulse-code modulation and the Unit Generator concept established by the MUSIC-N family, which established a lineage of role between composers and scientists which tends to turn
+composers into consumers. The paper concludes that programming languages for music developed after the 2000s present alternatives to the often-invisible technological infrastructures surrounding music, such as formats and protocols, rather than solely aiming to create novel musical styles.