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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.