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
+initial purpose was debugging.
-of the Universality of PCM
+
+\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
+However, this division of labor also creates a shared vocabulary
-vocabulary---exemplified by the Unit Generator itself, pioneered by
+(exactly seen in the Unit Generator by Mathews) and works to perpetuate
-Mathews---and works to perpetuate it. By portraying new technologies as
+it. By portraying new technologies as something externally introduced,
-something externally introduced, and by focusing on the agency of those
+and by focusing on the agency of those who create music with computers,
-who create music with computers, the individuals responsible for
+the individuals responsible for building the programming environments,
-building the programming environments, software, protocols, and formats
+software, protocols, and formats are rendered invisible
-are rendered invisible \citep{sterne_there_2014}. This leads to an
+\citep{sterne_there_2014}. This leads to an oversight of the indirect
-oversight of the indirect power relationships produced by these
+power relationships produced by these infrastructures.
-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
+created by Ruiz for his modular synthesizer hardware \citep{Ruiz2020};
-\citep{ruiz_vult_2020}; and a UGen-based live coding environment
+and a UGen-based live coding environment designed for web execution,
-designed for web execution, \textbf{Glicol} \citep{lan_glicol_2020}.
+\textbf{Glicol} \citep{lan_glicol_2020}. However, these efforts have not
-However, these efforts have not yet been adequately integrated into
+yet been adequately integrated into academic discourse.
-academic discourse.
 
 Conversely, practical knowledge of university-researched languages from
 the past, as well as real-time hardware-oriented systems from the 1980s,

convert_from_md.sh

@@ -1,3 +1,3 @@
 pandoc abstract.md -o abstract.tex
 
-pandoc main.md -f markdown+fenced_code_blocks+fenced_code_attributes --listings --natbib --bibliography=main.bib --shift-heading-level-by=-1  -o content.tex
+pandoc main.md -f markdown+hard_line_breaks+fenced_code_blocks+fenced_code_attributes --listings --natbib --bibliography=main.bib --shift-heading-level-by=-1  -o content.tex

main.bib

@@ -707,11 +707,10 @@
   author = {Reese, Ivan},
   year = {2020},
   month = may,
-  journal = {Future of Coding},
-  number = {47},
   urldate = {2022-01-23},
   abstract = {Are you looking for the real computer revolution? Join the club! Future of Coding is a podcast and community of toolmakers, researchers, and creators working together to reimagine computing.},
   collaborator = {Puckette, Miller S.},
+  howpublished = {https://futureofcoding.org/episodes/047.html},
   language = {english},
   file = {/Users/tomoya/Zotero/storage/E4PL98DG/047.html}
 }
@@ -749,19 +748,12 @@
   language = {英語}
 }
 
-@misc{ruiz_vult_2020,
-  title = {Vult {{Language}}},
-  author = {Ruiz, Leonardo Laguna},
-  year = {2020},
-  urldate = {2020-09-27}
-}
-
 @misc{Ruiz2020,
   title = {Vult {{Language}}},
   author = {Ruiz, Leonardo Laguna},
   year = {2020},
-  urldate = {2024-11-27},
+  url = {http://modlfo.github.io/vult/},
-  howpublished = {http://modlfo.github.io/vult/}
+  urldate = {2024-11-27}
 }
 
 @inproceedings{Salazar2012,
@@ -952,10 +944,11 @@
 }
 
 @misc{vercoe_barry_2012,
-  title = {Barry {{Vercoe}} 4/24/2012},
+  title = {Barry {{Vercoe}} 4/24/2012 - {{Music}} at {{MIT Oral History Collection}}},
   author = {Vercoe, Barry L.},
   year = {2012},
   month = apr,
+  url = {https://libraries.mit.edu/music-oral-history/interviews/barry-vercoe-4242012/},
   urldate = {2022-01-14},
   language = {en-US},
   file = {/Users/tomoya/Zotero/storage/H5B6GV4U/barry-vercoe-4242012.html}

main.md

@@ -7,6 +7,8 @@ In the early days, when computers were confined to research laboratories and nei
 Since the 1990s, the theoretical development of programming languages and the various constraints required for real-time audio processing have significantly increased the specialized knowledge necessary for developing programming languages for music today. Furthermore, some languages developed after the 2000s are not necessarily aimed at pursuing new forms of musical expression. It seems that there is still no unified perspective on how the value of such languages should be 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"
 
 The term "Computer Music," despite its literal and potential broad meaning, has been noted as being used within a narrowly defined framework tied to specific styles or communities, as represented in Ostartag's *Why Computer Music Sucks*[@ostertag1998] since the 1990s.
@@ -32,6 +34,8 @@ In this paper, the history of programming languages for music is reexamined with
 2. An examination of the MUSIC-N family, the origin of PCM-based sound synthesis, to highlight that its design varies significantly across systems from the perspective of modern programming language design and that it has evolved over time into a black box, eliminating the need for users to understand its internal workings.
 
 Ultimately, the paper concludes that programming languages for music 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
 
 Among the earliest examples of computer music research, the MUSIC I system (1957) from Bell Labs and its derivatives, known as MUSIC-N, are frequently highlighted. However, attempts to create music with computers in the UK and Australia prior to MUSIC I have also been documented[@doornbusch2017]. Organizing what was achieved by MUSIC-N and earlier efforts can help clarify definitions of computer music.
@@ -57,6 +61,8 @@ This is because the sounds generated by the Pilot ACE were not created by musica
 Similarly, in the 1960s at MIT, Peter Samson took advantage of the debugging speaker on the TX-0, a machine that had become outdated and freely available for students to use. He conducted experiments where he played melodies, such as Bach fugues, using square waves [@levy_hackers_2010]. Samson’s experiments with the TX-0 later evolved into the creation of a program that allowed melodies to be described using text strings within MIT. 
 
 Building on this, Samson developed a program called the Harmony Compiler on the DEC PDP-1, which was derived from the TX-0. This program gained significant popularity among MIT students. Around 1972, Samson began surveying various digital synthesizers that were being developed at the time and went on to create a system specialized for computer music. The resulting Samson Box was used at Stanford University's CCRMA (Center for Computer Research in Music and Acoustics) for over a decade until the early 1990s and became a tool for many composers to create their works [@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
 
 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 first to implement sound representation on a computer based on **pulse-code modulation (PCM)**, which theoretically enables the representation of "almost any sound."
@@ -104,7 +110,7 @@ $$O_n = I_1 \cdot S_n + I_2 \cdot O_{n-1} - I_3 \cdot O_{n-2}$$
 
 In MUSIC V, this band-pass filter can be used as in \ref{lst:musicv}  [@mathews_technology_1969, p78].
 
-~~~{label=lst:musicv caption="Example of the use of RESON UGen in MUSIC V."}
+~~~{label=lst:musicv caption="Example of the use of FLT UGen in MUSIC V."}
 FLT I1 O I2 I3 Pi Pj;
 ~~~
 
@@ -188,13 +194,13 @@ This paper has reexamined the history of computer music and music programming la
 
 > Most newer tools abstract the signal processing routines and variables, making them easier to use while removing the need for understanding the underlying processes in order to create meaningful results. Composers no longer necessarily need mathematical and programming skills to use the technologies. These abstractions are important, as they hide many of the technical details and make the software and processes available to more people, and form the basis for what can arguably be seen as a new folk music. [@holbrook2022, p2]
 
-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 [@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 [@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 aesthetic value within musical culture (and what forms of musical practice they enable), as well as the social (im)balances of power they produce. 
 
 It has been noted in programming language research that evaluation criteria such as efficiency, expressiveness, and generality are often ambiguous [@Markstrum2010]. This issue is even more acute in fields like music, where no clear evaluation criteria exist. Thus, as McPherson et al. have proposed with the concept of Idiomaticity [@McPherson2020], we need to develop and share a vocabulary for understanding the value judgments we make about programming languages in general.
 
-In a broader sense, the creation of programming languages for music has also expanded to the individual level. Examples include **Gwion** by Astor, which builds on ChucK and enhances its abstraction capabilities with features like lambda functions [@astor_gwion_2017]; **Vult**, a DSP transpiler language created by Ruiz for his modular synthesizer hardware [@ruiz_vult_2020]; and a UGen-based live coding environment designed for web execution, **Glicol** [@lan_glicol_2020]. However, these efforts have not yet been adequately integrated into academic discourse.
+In a broader sense, the creation of programming languages for music has also expanded to the individual level. Examples include **Gwion** by Astor, which builds on ChucK and enhances its abstraction capabilities with features like lambda functions [@astor_gwion_2017]; **Vult**, a DSP transpiler language created by Ruiz for his modular synthesizer hardware [@Ruiz2020]; and a UGen-based live coding environment designed for web execution, **Glicol** [@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, is gradually being lost. While research efforts such as *Inside Computer Music*, which analyzes historical works of computer music, have begun [@clarke_inside_2020], an archaeological practice focused on the construction of computer music systems will also be necessary in the future. This includes not only collecting primary resources, such as oral archives from those involved, but also reconstructing the knowledge and practices behind these systems.