21 lines
1.3 KiB
TeX
21 lines
1.3 KiB
TeX
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 form/community. This
|
|
paper focuses on critiquing the discourse of Post-Acousmatic, which
|
|
inclusively addresses recent trends in computer music. The universalism
|
|
associated with pulse-code modulation (PCM), which is basic assumption
|
|
of today's sound programming, has functioned as a discourse that shapes
|
|
musicians' expectations historically, despite the fact that its
|
|
expressive range has several limits. Also, this paper points out that
|
|
the MUSIC-N family, which formed the foundation of PCM-based sound
|
|
synthesis, is contextualized not as programming languages in terms of
|
|
their syntactic or semantic properties, but as a lineage of workflows
|
|
for generating sound on computers, and these systems have evolved into
|
|
black boxes that minimize the need for users to understand their
|
|
internal structures over time. The paper concludes that programming
|
|
languages for music developed since 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 conclusion paves
|
|
the way for future discussions in this research area.
|