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Programming (music)
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<h2 id="coding-languages">Coding languages</h2> <p>Music coding languages are used to program the electronic devices to produce the instrumental sounds they make. Each coding language has its own level of difficulty and function. </p> <h3>Alda</h3> <p>The music coding language Alda provides a tutorial on coding music and is, "designed for musicians who do not know how to program, as well as programmers who do not know how to music".<a class="footnote-ref" id="fnref:2" href="#fn:2"><sup>2</sup></a> The website also has links to install, tutorial, cheat sheet, docs, and community for anyone visiting the website. </p> <h3>LC</h3> <p>LC computer music programming language is a more complex computer music programming language meant for more experienced coders. One of the differences between this language and other music coding languages is that, "Unlike existing unit-generator languages, LC provides objects as well as library functions and methods that can directly represent microsounds and related manipulations that are involved in microsound synthesis."<a class="footnote-ref" id="fnref:3" href="#fn:3"><sup>3</sup></a> </p> <h2 id="history-and-development">History and development</h2> <p>Music programming has had a vast history of development leading to the creation of different programs and languages. Each development comes with more function and utility and each decade tends to favor a certain program and or piece of equipment. </p> <h3>MUSIC-N</h3> <p class="note">Main article: <a href="/facts/MUSIC-N/MqIaLX5w">MUSIC-N</a></p> <p>The first <a href="/facts/Digital_synthesizer/9IxIlvFf">digital synthesis</a> family of <a href="/facts/Computer_program/e38jH9N9">computer programs</a> and languages being <a href="/facts/MUSIC-N/MqIaLX5w">MUSIC-N</a> created by <a href="/facts/Max_Mathews/oBCBqPYK">Max Mathews</a>. The development of these programs, allowed for more flexibility and utility, eventually leading them to become fully developed languages. As programs such as MUSIC I, MUSIC II and MUSIC III were developed, which were all created by Max Matthews, new technologies were incorporated in such as the table-lookup oscillator in MUSIC II and the <a href="/facts/Unit_generator/nTH8pQw3">unit generator</a> in MUSIC III. The breakthrough technologies such as the unit generator, which acted as a building block for music programming software, and the acoustic compiler, which allowed "unlimited number of sound synthesis structures to be created in the computer", further the complexity and evolution of music programming systems.<a class="footnote-ref" id="fnref:4" href="#fn:4"><sup>4</sup></a> </p> <h3>Drum machines</h3> <p>Around the time of the 1950s, electric rhythm machines began to make way into <a href="/facts/Popular_music/Q5yhxIwY">popular music</a>. These machines began to gain much traction amongst many artists as they saw it as a way to create <a href="/facts/Percussion_instrument/YojwA7VR">percussion</a> sounds in an easier and more efficient way. Artists who used this kind of technology include <a href="/facts/J._J._Cale/q0rUESxR">J. J. Cale</a>, <a href="/facts/Sly_Stone/NaxyeM9E">Sly Stone</a>, <a href="/facts/Phil_Collins/fJ4ccc0D">Phil Collins</a>, <a href="/facts/Marvin_Gaye/NLquREXY">Marvin Gaye</a>, and <a href="/facts/Prince_(musician)/cSkbYHIA">Prince</a>. Some of the popular <a href="/facts/Drum_machine/ltR2xFt3">drum machines</a> through the time of the 1950s-1970s were the Side Man, Ace Tone's Rhythm Ace, Korg's Doncamatic, and Maestro's Rhythm King. In 1979, the <a href="/facts/Linn_LM-1/BeutN2YS">LM-1</a> drum machine computer was released by guitarist <a href="/facts/Roger_Linn/gpQcyT85">Roger Linn</a>, its goal being to help artists achieve realistic sounding drum sounds. This drum machine had eight different drum sounds: <a href="/facts/Bass_drum/W7MvHkKJ">kick drum</a>, <a href="/facts/Snare_drum/IN9Arnh3">snare</a>, <a href="/facts/Hi-hat/CFYvWBFd">hi-hat</a>, <a href="/facts/Cabasa/KNmFQUeB">cabasa</a>, <a href="/facts/Tambourine/e6IwRVRd">tambourine</a>, two <a href="/facts/Tom_drum/PzXfdGSw">tom toms</a>, two <a href="/facts/Conga/5LEvJquE">congas</a>, <a href="/facts/Cowbell_(instrument)/DRk10wjs">cowbell</a>, <a href="/facts/Clave_(rhythm)/0nlREQ6u">clave</a>, and <a href="/facts/Clapping/Vyvpt86j">handclaps</a>. The different sounds could be recorded individually and they sounded real because of the high <a href="/facts/Frequency/QUSbPaW8">frequencies</a> of the sound (28 kHz). Some notable artists who used the LM-1 were <a href="/facts/Peter_Gabriel/IYQ3DoTx">Peter Gabriel</a>, <a href="/facts/Stevie_Wonder/z5Kqx9mr">Stevie Wonder</a>, <a href="/facts/Michael_Jackson/LLa098zX">Michael Jackson</a>, and <a href="/facts/Madonna/kHDBUtL7">Madonna</a>.<a class="footnote-ref" id="fnref:5" href="#fn:5"><sup>5</sup></a> These developments continued to happen in future decades leading to the creation of new <a href="/facts/Electronic_musical_instrument/dQSuuYtF">electrical instruments</a> such as the <a href="/facts/Theremin/qygjqB7S">Theremin</a>, <a href="/facts/Hammond_organ/1Xr2Ia2c">Hammond organ</a>, <a href="/facts/Electric_guitar/yNL6qSw4">electric guitar</a>, <a href="/facts/Synthesizer/NrmdVrPa">synthesizer</a>, and <a href="/facts/Digital_sampler/BVGHPATc">digital sampler</a>. Other technologies such as the <a href="/facts/Phonograph/VcNQRYVT">phonograph</a>, <a href="/facts/Tape_recorder/fWXgHUwY">tape-recorder</a>, and <a href="/facts/Compact_disc/g51GRloc">compact disc</a> have enabled artists to create and produce sounds without the use of live musicians.<a class="footnote-ref" id="fnref:6" href="#fn:6"><sup>6</sup></a><a class="footnote-ref" id="fnref:7" href="#fn:7"><sup>7</sup></a> </p> <h3>Music programming in the 1980s</h3> <p>The music programming innovations of the 1980s brought many new unique sounds to this style of music. Popular music sounds during this time were the <a href="/facts/Gated_reverb/GexMMjjR">gated reverb</a>, <a href="/facts/Synthesizer/NrmdVrPa">synthesizers</a>, drum machines with 1980s sounds, vocal <a href="/facts/Reverberation/188vPg1A">reverb</a>, <a href="/facts/Delay_(audio_effect)/t2UR7gHI">delay</a>, and <a href="/facts/Harmonization/t7v5gC7b">harmonization</a>, and master bus mix downs and <a href="/facts/Tape_recorder/fWXgHUwY">tape</a>.<a class="footnote-ref" id="fnref:8" href="#fn:8"><sup>8</sup></a> Music programming began to emerge around this time which drew up controversy. Many artists were adapting more towards this technology and the traditional way music was made and recorded began to change. For instance, many artists began to record their beats by programming instead of recording a live <a href="/facts/Drummer/UgDvaVav">drummer</a>.<a class="footnote-ref" id="fnref:9" href="#fn:9"><sup>9</sup></a> </p> <h3>Music programming in the early 2000s</h3> <p>Today, music programming is very common, with artists using software on a computer to produce music and not actually using <a href="/facts/Musical_instrument/UMSjL1Ks">physical instruments</a>. These different programs are called <a href="/facts/Digital_audio_workstation/suXVXzKT">digital audio workstations</a> (DAW) and are used for editing, <a href="/facts/Music_Recording/BMbpAWkE">recording</a>, and <a href="/facts/Mixing_(process_engineering)/zvhBolV4">mixing</a> music files. Most DAW programs incorporate the use of <a href="/facts/MIDI/tblhmeFV">MIDI</a> technology, which allows for music production software to carry out communication between <a href="/facts/Electronic_musical_instrument/dQSuuYtF">electronic instruments</a>, computers, and other related devices. While most DAWs carry out the same function and do the same thing, there are some that require less expertise and are easier for beginners to operate. These programs can be run on personal computers. Popular DAWs include: <a href="/facts/FL_Studio/yUsUbbPT">FL Studio</a>, <a href="/facts/Avid_Technology/rf0WrKF6">Avid</a> <a href="/facts/Pro_Tools/0dASXmcx">Pro Tools</a>, <a href="/facts/Logic_Pro/QEwxny8W">Apple Logic Pro X</a>, Magix <a href="/facts/Acid_Pro/DQAHxKGX">Acid Pro</a>, <a href="/facts/Ableton_Live/361XUeQo">Ableton Live</a>, <a href="/facts/Studio_One_(software)/0fDcUm0Y">Presonus Studio One</a>, Magix Samplitude Pro X, <a href="/facts/Cockos/kEUWQbkj">Cockos</a> <a href="/facts/REAPER/QuLvmI3x">Reaper</a>, <a href="/facts/Propellerheads/Thoua4TJ">Propellerhead</a> <a href="/facts/Reason_(software)/msw7nbEF">Reason</a>, <a href="/facts/Steinberg_Cubase/h5MhchD2">Steinberg Cubase</a> Pro, <a href="/facts/GarageBand/HpjRQS2w">GarageBand</a>, and <a href="/facts/Bitwig_Studio/fAH0crdM">Bitwig Studio</a>. </p> <h2 id="equipment">Equipment</h2> <ul><li>Technology: <a href="/facts/Digital_audio_workstation/suXVXzKT">digital audio workstation</a>, <a href="/facts/Drum_machine/ltR2xFt3">drum machine</a>, <a href="/facts/Groovebox/5N3yJ4VH">groovebox</a>, <a href="/facts/Sampler_(musical_instrument)/BVGHPATc">sampler</a>, <a href="/facts/Music_sequencer/VhLzSPhr">sequencer</a>, <a href="/facts/Synthesizer/NrmdVrPa">synthesizer</a> and <a href="/facts/MIDI/tblhmeFV">MIDI</a></li></ul> <h2 id="external-links">External links</h2> <ul><li>Dobrian, Chris (1988). <a href="http://music.arts.uci.edu/dobrian/CD.MusicProgramming.htm">"Music Programming: An Introductory Essay"</a>. <a href="/facts/Claire_Trevor_School_of_the_Arts/q5vSa47W">Claire Trevor School of the Arts</a>, <a href="/facts/University_of_California%2c_Irvine/gS3nEt3V">University of California, Irvine</a>.</li></ul> <h2 id="references">References</h2> <ol> <li id="fn:1"><p>Brett, Thomas (2020-05-26). "Prince's Rhythm Programming: 1980s Music Production and the Esthetics of the LM-1 Drum Machine". Popular Music and Society. 43 (3): 244–261. doi:10.1080/03007766.2020.1757813. ISSN 0300-7766. S2CID 218943863. <a href="https://www.tandfonline.com/doi/full/10.1080/03007766.2020.1757813" target="_blank">https://www.tandfonline.com/doi/full/10.1080/03007766.2020.1757813</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li> <li id="fn:2"><p>"Alda". alda.io. Retrieved 2021-12-03. <a href="https://alda.io/" target="_blank">https://alda.io/</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li> <li id="fn:3"><p>Nishino, Hiroki; Osaka, Naotoshi; Nakatsu, Ryohei (December 2015). "The Microsound Synthesis Framework in the LC Computer Music Programming Language". Computer Music Journal. 39 (4): 49–79. doi:10.1162/comj_a_00331. ISSN 0148-9267. S2CID 32777643. <a href="/wiki/Computer_Music_Journal" target="_blank">/wiki/Computer_Music_Journal</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li> <li id="fn:4"><p>Lazzarini, Victor (March 2013). "The Development of Computer Music Programming Systems". Journal of New Music Research. 42 (1): 97–110. doi:10.1080/09298215.2013.778890. ISSN 0929-8215. S2CID 60554574. <a href="/wiki/Victor_Lazzarini" target="_blank">/wiki/Victor_Lazzarini</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li> <li id="fn:5"><p>Brett, Thomas (2020-05-26). "Prince's Rhythm Programming: 1980s Music Production and the Esthetics of the LM-1 Drum Machine". Popular Music and Society. 43 (3): 244–261. doi:10.1080/03007766.2020.1757813. ISSN 0300-7766. S2CID 218943863. <a href="https://www.tandfonline.com/doi/full/10.1080/03007766.2020.1757813" target="_blank">https://www.tandfonline.com/doi/full/10.1080/03007766.2020.1757813</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li> <li id="fn:6"><p>Pinch, Trevor; Bijsterveld, Karin (October 2004). "Sound Studies: New Technologies and Music". Social Studies of Science. 34 (5): 635–648. doi:10.1177/0306312704047615. ISSN 0306-3127. S2CID 113623790. <a href="http://journals.sagepub.com/doi/10.1177/0306312704047615" target="_blank">http://journals.sagepub.com/doi/10.1177/0306312704047615</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></p></li> <li id="fn:7"><p>Howe, Hubert S. Jr. (Spring–Summer 1966). "Music and Electronics: A Report". Perspectives of New Music. 4 (2): 68–75 (68). doi:10.2307/832214. JSTOR 832214. <a href="/wiki/Perspectives_of_New_Music" target="_blank">/wiki/Perspectives_of_New_Music</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></p></li> <li id="fn:8"><p>"Getting that 80s Sound Right: 6 Tips to Produce 80s Music". MasteringBOX. 2018-09-04. Retrieved 2021-12-03. <a href="https://www.masteringbox.com/80s-sound/" target="_blank">https://www.masteringbox.com/80s-sound/</a> <a href="#fnref:8" class="footnote-back-ref">↩</a></p></li> <li id="fn:9"><p>Brett, Thomas (2020-05-26). "Prince's Rhythm Programming: 1980s Music Production and the Esthetics of the LM-1 Drum Machine". Popular Music and Society. 43 (3): 244–261. doi:10.1080/03007766.2020.1757813. ISSN 0300-7766. S2CID 218943863. <a href="https://www.tandfonline.com/doi/full/10.1080/03007766.2020.1757813" target="_blank">https://www.tandfonline.com/doi/full/10.1080/03007766.2020.1757813</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></p></li> </ol>