Much electroacoustic music composition and sound art, and the commentary that surrounds them, is locked into a materialist sound-object mindset in which the hierarchical organisation of sonic events, especially those developed through abstraction, are considered antithetical to sounds ‘being themselves’. This article argues that musical sounds are not just material objects, and that musical notations, on paper or in computer code, are not just symbolic abstractions, but instructions for embodied actions. When notation is employed computationally to control resonance and gestural actuators at multiple acoustic, psychoacoustic and conceptual levels of music form, vibrant sonic morphologies may emerge from the quantum-like boundaries between them. In order to achieve that result, it is necessary to replace our primary focus of compositional attention from the Digital Audio Workstation sound transformation tools currently in vogue, with those that support algorithmic thinking at all levels of compositional design.

中文翻译：

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声波形态的计算设计

许多电声音乐作品和声音艺术，以及围绕它们的评论，都被锁定在一种唯物主义的声音对象思维模式中，在这种思维模式中，声音事件的等级组织，尤其是那些通过抽象发展起来的事件，被认为与声音“存在自己”是对立的。本文认为，音乐的声音不仅仅是物质对象，而且在纸上或计算机代码中的音乐符号不仅仅是象征性的抽象，而是具体行动的指令。当在音乐形式的多个声学、心理声学和概念水平上以计算方式使用符号来控制共振和手势执行器时，充满活力的声波形态可能会从它们之间的类量子边界中出现。为了达到这个结果，