Abstract
Computers offer the possibility to musicians of creating sounds, instruments, performance styles, and interpretive behaviors with relatively few a priori constraints. We discuss the definition of these terms in the perspective of computer music, and the fact that realization of these utopian possibilities requires the musician to act in some sense as a programmer. The main body of the paper is concerned with issues in the design of programming languages for musicians. As the organization of time is one of the most salient and uniquely musical aspects of music, we will be especially concerned with the problem of time in such languages. A programming language for musicians developed by the author at IRCAM will be described.
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