On Sun, Feb 20, 2011 at 3:45 AM, Stephen Tetley <[email protected]> wrote: > On 18 February 2011 07:00, Evan Laforge <[email protected]> wrote: > >> To my eyes the problem is in the score vs. orchestra division that >> starts with music-n languages like csound and goes all the way through >> midi sequencers. Nyquist is the only language I know of that tried to >> tackle that. > > I don't think SuperCollider has the score vs. orchestra division > either and suspect ChucK doesn't either.
I'm not super knowledgable about supercollider, but isn't it basically a synthesizer which you configure by sending OSC over, and can then play it by sending more OSC? I remember there being a distinction between "control" variables which can be efficiently varied at "play time", which was distinct from uploading a new instrument. The notion of a "play time" (i.e. an implicit global "now" at which point samples are computed) seems antithetical to the ability to manipulate sounds in the same way as notes, and in fact to functional programming in general. Doesn't global "now" defeat closure, and thus compositionality? How about chuck? Can you write 'inst2 pitch = reverse (inst1 pitch)'? _______________________________________________ haskell-art mailing list [email protected] http://lists.lurk.org/mailman/listinfo/haskell-art
