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