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