It is widely accepted that acoustic and digital musical instruments shape the cognitive processes of the performer on both embodied and conceptual levels, ultimately influencing the structure and aesthetics of the resulting performance. In this article we examine the ways in which computer music languages might similarly influence the aesthetic decisions of the digital music practitioner, even when those languages are designed for generality and theoretically capable of implementing any sound-producing process. We examine the basis for querying the non-neutrality of tools with a particular focus on the concept of idiomaticity: patterns of instruments or languages which are particularly easy or natural to execute in comparison to others. We then present correspondence with the developers of several major music programming languages and a survey of digital musical instrument creators examining the relationship between idiomatic patterns of the language and the characteristics of the resulting instruments and pieces. In an open-ended creative domain, asserting causal relationships is difficult and potentially inappropriate, but we find a complex interplay between language, instrument, piece and performance that suggests that the creator of the music programming language should be considered one party to a creative conversation that occurs each time a new instrument is designed.

中文翻译：

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计算机音乐语言中的惯用模式和审美影响

人们普遍认为，声学和数字乐器在具体和概念层面塑造了表演者的认知过程，最终影响了最终表演的结构和美学。在本文中，我们研究了计算机音乐语言可能同样影响数字音乐从业者的审美决定的方式，即使这些语言是为通用性而设计的，并且理论上能够实现任何声音产生过程。我们研究了查询工具非中立性的基础，特别关注惯用性的概念：与其他工具相比，执行起来特别容易或自然的工具或语言的模式。然后，我们与几种主要音乐编程语言的开发人员进行了通信，并对数字乐器创作者进行了调查，研究了语言的惯用模式与生成的乐器和作品的特征之间的关系。在一个开放式的创意领域中，断言因果关系是困难的，并且可能不合适，但我们发现语言、乐器、乐曲和表演之间存在复杂的相互作用，这表明音乐编程语言的创造者应该被视为创造性对话的一方每次设计新仪器时都会发生这种情况。