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.