I think there's something that could be said about the language used to describe an algorithm that is used to make music. The programming languages used to construct an algorithmic piece make certain assumptions about the resulting music (and the structure it should take). Just as certain programming paradigms lend themselves better to certain applications, certain musical languages lend themselves better to certain musical ideas and structures.
I'm not thinking in the sense of a particular language, but more like a comparative study of the notion of "instrument" or "voice" across algorithmic music languages. SuperCollider has SynthDef, Max/MSP has the poly~ situation, CSound has an orchestra, and there's more out there I don't know about. The language contains an abstraction and an assumption about music, and it's interesting to see how different languages interpret these common structural ideas.
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Received on Fri Jul 11 2014 - 22:33:41 BST