@inbook {2585, title = {A History of Programming and Music}, booktitle = {Cambridge Companion to Electronic Music}, year = {2008}, publisher = {Cambridge University Press}, organization = {Cambridge University Press}, abstract = {

Computer music now has a practical history of more than fifty years,\ though Ada Lovelace had anticipated applications in 1843. An involvement\ of computers in music, with their potential for fantastical automations,\ necessarily saw the use of programming languages. In the present day, a\ bewildering array of languages exist, some specially developed with\ issues of sound and music representation in mind. Whilst entry-level\ softwares exist to hide complicated programming from end-users, the\ musician seeking custom abstractions and intimate control of all\ parameters is drawn to programming interfaces. This chapter provides a\ historical perspective on computer music programming, from Music N to\ Csound, from Max to Max/MSP, and details many interesting projects such\ as Common Lisp Music, Nyquist, SuperCollider, and ChucK. Interesting\ applications from different eras are highlighted including Hiller and\ Isaacson{\textquoteright}s Illiac Suite, the Computer Audio Research Laboratory (CARL),\ the Composer{\textquoteright}s Desktop Project, writing custom sound software, plug-ins\ and extensions, and live coding.

}, keywords = {computer music, history, language, programming}, author = {Ge Wang} }