  This paper delves into the intersection of computational theory and music,
examining the concept of undecidability and its significant, yet overlooked,
implications within the realm of modern music composition and production. It
posits that undecidability, a principle traditionally associated with
theoretical computer science, extends its relevance to the music industry. The
study adopts a multidimensional approach, focusing on five key areas: (1) the
Turing completeness of Ableton, a widely used digital audio workstation, (2)
the undecidability of satisfiability in sound creation utilizing an array of
effects, (3) the undecidability of constraints on polymeters in musical
compositions, (4) the undecidability of satisfiability in just intonation
harmony constraints, and (5) the undecidability of "new ordering systems". In
addition to providing theoretical proof for these assertions, the paper
elucidates the practical relevance of these concepts for practitioners outside
the field of theoretical computer science. The ultimate aim is to foster a new
understanding of undecidability in music, highlighting its broader
applicability and potential to influence contemporary computer-assisted (and
traditional) music making.
