The role of computation in music is truly exciting – and perhaps especially so when it is made explicit how Turing-complete transducer systems uniquely fit at the core of what human music making is, as an observable, physical process.

Developing this theoretical view enables pointing out implications for the fundamental question “What forms of instrumental control of musical sound are possible to implement?”

In this thesis, we also “walk the walk”, however: we develop concrete models and hypotheses – and then novel transducer technologies and the systems for programming them – and show how these indeed predictably yield new forms of instrumental control of musical sound.