[iainctduncan]

Ah right, typed too soon, I was thinking of Nyquist, which is over Xlisp. YMMV, but for me personally I find Lisp much nicer to represent music than SAL.

My PhD is interdisciplinary, so it is not a pure research CS - it's a combination of CS work, project work, and music composition & performance. The research side will be into how Scheme and recent developments in the Scheme side of PLT can be used in modern machines/environments for exploring algorithimic composition and live-coded composition and improvisation.

[Rochus]

> I find Lisp much nicer to represent music than SAL

Lisp and Scheme are indeed very flexible to represent about anything, but on a very fundamental and general purpose level; of course you can do some kind of "DSL" with macros, but it's still "Lispy". SAL has less degrees of freedom and helps users not to get lost or bogged down, but it's still a general purpose programming language, not a specification system covering the essence of musical structures and processes.

> My PhD is interdisciplinary, so it is not a pure research CS..

Here in Switzerland "interdisciplinary" means that the research topics concern more than one research area, not that it's not pure research. Usually the PhD students are more challenged than with a "traditional" PhD, because there are more professors involved, each with his own research focus, that is most important to him (so it happens that the student does actually work for more than one PhD).

Concerning Scheme, depending on how big the "composition" is and whether it does sound generation and has to be controlled in real-time, a traditional byte-code interpreter will likely get to its limits, even on present HW.

[iainctduncan]

Well sure, you can bring any real-time sound system to its limits if you want to - some of my additive synthesis experiments do that very quickly even on pure C++.

But as far as practical use goes, I run 16 algorithmic sequencers implemented completely in s7 in real-time, inside Ableton Live, at an output latency of 8ms, and do so for long enough for compositions. This is while Live does a ton of software synthesis and FX dsp too, and all of the sequencers can be altered on the fly without audio dropouts! This is on the cheapest M1 you can get too. So it's absolutely practical for real time work. This is also without even a ton of attention to real-time GC in s7 - I haven't dug into that yet, but Bill has told me that while he did a lot of work to make it fast, it doesn't use an implementation specifically targeted at lowest possible pause times.

Whether the tradeoffs of Scheme vs other options are worth it for a particular composer/producer/performer varies of course, but it really is time to put to rest the notion that we can't run a Scheme interpreter for real-time music generation.