fixed formatting

content.tex

@@ -35,7 +35,10 @@ evaluated.
 In this paper, a critical historical review is conducted by deriving
 discussions from sound studies alongside existing surveys, aiming to
 consider programming languages for music independently from computer
-music as the specific genre. \#\#\# Use of the Term ``Computer Music''
+music as the specific genre.
+
+\subsection{Use of the Term ``Computer
+Music''}\label{use-of-the-term-computer-music}
 
 The term ``Computer Music,'' despite its literal and potential broad
 meaning, has been noted as being used within a narrowly defined
@@ -136,7 +139,10 @@ developed since the 2000s are not solely aimed at creating new music but
 also serve as alternatives to the often-invisible technological
 infrastructures surrounding music, such as formats and protocols. By
 doing so, the paper proposes new perspectives for the historical study
-of music created with computers. \#\# PCM and Early Computer Music
+of music created with computers.
+
+\section{PCM and Early Computer
+Music}\label{pcm-and-early-computer-music}
 
 Among the earliest examples of computer music research, the MUSIC I
 system (1957) from Bell Labs and its derivatives, known as MUSIC-N, are
@@ -239,8 +245,10 @@ early 1990s and became a tool for many composers to create their works
 \citep{loy_life_2013}. Considering Samson's example, it is not
 appropriate to separate the early experiments in sound generation by
 computers from the history of computer music solely because their
-initial purpose was debugging. \#\#\# Acousmatic Listening, the premise
-of the Universality of PCM
+initial purpose was debugging.
+
+\subsection{Acousmatic Listening, the premise of the Universality of
+PCM}\label{acousmatic-listening-the-premise-of-the-universality-of-pcm}
 
 One of the reasons why MUSIC led to subsequent advancements in research
 was not simply because it was developed early, but because it was the
@@ -389,7 +397,7 @@ time steps prior \(O_{n-t}\), and an arbitrary amplitude parameter
 In MUSIC V, this band-pass filter can be used as in \ref{lst:musicv}
 \citep[p78]{mathews_technology_1969}.
 
-\begin{lstlisting}[label={lst:musicv}, caption={Example of the use of RESON UGen in MUSIC V.}]
+\begin{lstlisting}[label={lst:musicv}, caption={Example of the use of FLT UGen in MUSIC V.}]
 FLT I1 O I2 I3 Pi Pj;
 \end{lstlisting}
 
@@ -684,15 +692,14 @@ people, and form the basis for what can arguably be seen as a new folk
 music. \citep[p2]{holbrook2022}
 \end{quote}
 
-However, this division of labor also creates a shared
-vocabulary---exemplified by the Unit Generator itself, pioneered by
-Mathews---and works to perpetuate it. By portraying new technologies as
-something externally introduced, and by focusing on the agency of those
-who create music with computers, the individuals responsible for
-building the programming environments, software, protocols, and formats
-are rendered invisible \citep{sterne_there_2014}. This leads to an
-oversight of the indirect power relationships produced by these
-infrastructures.
+However, this division of labor also creates a shared vocabulary
+(exactly seen in the Unit Generator by Mathews) and works to perpetuate
+it. By portraying new technologies as something externally introduced,
+and by focusing on the agency of those who create music with computers,
+the individuals responsible for building the programming environments,
+software, protocols, and formats are rendered invisible
+\citep{sterne_there_2014}. This leads to an oversight of the indirect
+power relationships produced by these infrastructures.
 
 For this reason, future research on programming languages for music must
 address how the tools, including the languages themselves, contribute
@@ -714,11 +721,10 @@ also expanded to the individual level. Examples include \textbf{Gwion}
 by Astor, which builds on ChucK and enhances its abstraction
 capabilities with features like lambda functions
 \citep{astor_gwion_2017}; \textbf{Vult}, a DSP transpiler language
-created by Ruiz for his modular synthesizer hardware
-\citep{ruiz_vult_2020}; and a UGen-based live coding environment
-designed for web execution, \textbf{Glicol} \citep{lan_glicol_2020}.
-However, these efforts have not yet been adequately integrated into
-academic discourse.
+created by Ruiz for his modular synthesizer hardware \citep{Ruiz2020};
+and a UGen-based live coding environment designed for web execution,
+\textbf{Glicol} \citep{lan_glicol_2020}. However, these efforts have not
+yet been adequately integrated into academic discourse.
 
 Conversely, practical knowledge of university-researched languages from
 the past, as well as real-time hardware-oriented systems from the 1980s,