Making music with Lua2SC: a self made Lua client to scsynth and supernova servers. 
Can be found at  https://github.com/sonoro1234/Lua2SC
Motion-haikus with photos from Carmen Escudero and my musics can be found at https://vimeo.com/user67846254

https://www.floatingpoints.co.uk/

 hello@floatingpoints.co.uk

60 second sonic artworks podcast. 
By artists from everywhere.
A new one every second week.

crew: Marie Gavois+George Kentros+Susanne Skog+Michel Klöfkorn

This account contains examples from a programming language for audio.
This language is still very experimental and is not available. 

WHAT

This programming language is called:

"A tool for the expression of sound as pure form."

It is an interpreter for a language for creating and transforming sound. The
language is mostly functional, stack based and uses postfix notation similar to
FORTH. It represents audio and control events using lazy, possibly infinite
sequences. It intends to do for lazy sequences what APL does for arrays: provide
very high level functions with pervasive automatic mapping, scanning, and
reduction operators. This makes for a language where short programs can achieve
results out of proportion to their size. Because nearly all of the programmer
accessible data types are immutable, the language can easily run multiple
threads without deadlock or corruption.

WHY

Other languages that inspired this one:
    APL, Joy[1], Haskell, Piccola[2], Nyquist[3], SuperCollider[4].

APL and FORTH (from which Joy derives) are both widely derided for being
write-only languages. Nevertheless, there has yet to be a language of such
concise expressive power as APL or its descendants. APL is powerful not because
of its bizarre symbols or syntax, but due to the way it automatically maps
operations over arrays and allows iterations at depth within arrays. This means
one almost never needs to write a loop or think about operations one-at-a-time.
Instead one can think about operations on whole structures.

Here is a great quote from Alan Perlis[5] on APL, which that also reflects my
interest in this way of programming :
"What attracted me, then, to APL was a feeling that perhaps through APL one
might begin to acquire some of the dimensions in programming that we revere in
natural language — some of the pleasures of composition; of saying things
elegantly; of being brief, poetic, artistic, that makes our natural languages
so precious to us."

The Joy language introduced concatenative functional programming. This generally
means a stack based virtual machine, and a program consisting of words which are
functions taking an input stack and returning an output stack. The natural
syntax that results is postfix. Over a very long time I have come to feel that
syntax gets in between me and the power in a language. Postfix is the least
syntax possible.

There are several reasons I like the concatenative style of programming:
    Function composition is concatenation. 
    Pipelining values through functions to get new values is the most natural
        idiom.
    Functions are applied from left to right instead of inside out. 
    Support for multiple return values comes for free. 
    No need for operator precedence. 
    Fewer delimiters are required: 
        Parentheses are not needed to control operator precedence.
        Semicolons are not needed to separate statements.
        Commas are not needed to separate arguments.


When I am programming interactively, I most often find myself in the situation
where I have a value and I want to transform it to something else. The thing to
do is apply a function with some parameters. With concatenative programming this
is very natural. You string along several words and get a new value.


REFERENCES    

1. http://www.kevinalbrecht.com/code/joy-mirror/joy.html

2. http://scg.unibe.ch/research/piccola

3. http://www.cs.cmu.edu/~music/nyquist/

4. http://supercollider.sourceforge.net

5. http://www.jsoftware.com/papers/perlis78.htm


Anders Lauge Meldgaard is the real name of the man behind Frisk Frugt. He is coming out of the experimental music collective yoyooyoy, based in Berlin and Copenhagen. With witch he in over a decade have been involved with numerous music and art projects. Under the alias Frisk Frugt he has released four albums; Det Store Kødhoved (cd-r 2004) Guldtrompeten from 2006, Dansktoppen møder Burkina Faso i det himmelblå rum hvor solen bor, suite from 2010 and Den Europæiske Spejlbue from 2015.

Frisk Frugt (eng. Fresh Fruit) operates in his own quirky musical universe, where the genre of traditional Danish folk song writing and poetry in an unpretentious way are spiced up with elements from experimental rock, improvisation, drone, noise, electronica, lo-fi, free jazz and African high-life guitar. Here, the music arises at the intersection between the programmed and the hand played, and between the naive and the complex - where the sonorous clouds of tones from home-built instruments, brutal guitarriffs, synthdreams and saxophone improvisations are mixed together in a colourful cocktail, full of dizzy and dazed energy and containing flavours from all over the world. 

On Guldtrompeten from 2006 he has been inspired by elements from the old book of Danish songs, and by the addition of Frisk Frugt’s musical style to this genre, the album presents a thorough reinterpretation of it.

In the period after the release of his debut Frisk Frugt has been on a long musical journey of discovery around the great West African countries of Mali and Burkina Faso. Equipped with a taperecorder and a workbook, he has been fascinated and inspired by those regions' musical cultures, which has left its distinct mark on the recently released second album.

On Dansktoppen møder Burkina Faso i det himmelblå rum hvor solen bor, suite from 2010 the musical universe of Frisk Frugt is added more exotic elements in form of African-inspired songs, drums, and ritual dance. The different track on the album still exude of Danish summer and melodic spontaneity, and in combination it appears as a musical journey of discovery, that turns up the mood and unites genres and continents in a space, where chaos and pop songs go hand in hand, and where Africa imperceptibly dissolve into domestic skies. 

The experimental and improvisational styles, which are the core of both albums, are also reflected quite clearly when Frisk Frugt gives concerts. Whatever it is solo - or as it is often the case with invited guest musicians - the scene at these shows seems as a playground for new expressions, where his own works undergo heavy modifications for the occasion and where brand new compositions are created and presented on the spot. An unpredictable experience always awaits the audience if they venture to a Frisk Frugt performance, who in return invites everyone into his optimist dinghy for a refreshing neopsychedelic cruise out on music’s diverse waves of vast opportunities. 


www.yoyooyoy.dk
www.yoyooyoy.dk/friskfrugt.htm

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