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