Abstract. We describe a tool for real-time musical analysis based on a measure of roughness, the principal element of sensory dissonance. While most historical musical analysis is based on the notated score, our tool permits analysis of a recorded or live audio signal in its full complexity. We proceed from the work of Richard Parncutt and Ernst Terhardt, extending their algorithms for the psychoacoustic analysis of harmony to be used for the live analysis of spectral data. This allows for the study of a wider variety of timbrally-rich acoustic or electronic sounds which was not possible with previous algorithms. Further, the direct treatment of audio signal facilitates a wide range of analytical applications, from the comparison of multiple recordings of the same musical work to the real-time analysis of a live performance. Our algorithm is programmed in C as an external object for the program Max/MSP.Taking musical examples by Arnold Schoenberg, Gérard Grisey and Iannis Xenakis, our algorithm yields varying roughness estimates depending on instrumental orchestration or electronic texture, confirming our intuitive understanding that timbre affects sensory dissonance. This is one of the many possibilities this tool presents for analysis and composition of music that is timbrally-dynamic and microtonally-complex.

This is the published version of the paper.This version of the publication may differ from the final published version. Abstract: The use of high-density loudspeaker arrays (HDLAs) has recently experienced rapid growth in a wide variety of technical and aesthetic approaches. Still less explored, however, are applications to interactive music with live acoustic instruments. How can immersive spatialization accompany an instrument already with its own rich spatial diffusion pattern, like the grand piano, in the context of a score-based concert work? Potential models include treating the spatialized electronic sound in analogy to the diffusion pattern of the instrument, with spatial dimensions parametrized as functions of timbral features. Another approach is to map the concert hall as a three-dimensional projection of the instrument's internal physical layout, a kind of virtual sonic microscope. Or, the diffusion of electronic spatial sound can be treated as an independent polyphonic element, complementary to but not dependent upon the instrument's own spatial characteristics. Cartographies (2014), for piano with two performers and electronics, explores each of these models individually and in combination, as well as their technical implementation with the Meyer Sound Matrix3 system of the Südwestrundfunk Experimentalstudio in Freiburg, Germany, and the 43.4-channel Klangdom of the Institut für Musik und Akustik at the Zentrum für Kunst und Media in Karlsruhe, Germany. The process of composing, producing, and performing the work raises intriguing questions, and invaluable hints, for the composition and performance of live interactive works with HDLAs in the future. Permanent repository link

A precursor to the October 2013 Noise in and as Music symposium in Huddersfield, the Noise Non-ference was a March 2013 event in New York City organized by Qubit (Bryan Jacobs and Alec Hall) and Aaron Einbond that included concerts, installations, and articles printed in an accompanying book and program flyer. 1 The three co-curators discuss the event and its relation to noise in and around New York. Curating NoiseAaron Einbond: What was the starting point for curating a Noise Nonference?Bryan Jacobs: We wanted to take as many submissions as we could of people who thought that maybe they were doing something that had to do with noise. And then we would look at it and ask, "how is that noise?" If we could find our way into it, then that was a check in the inclusion box. If this person thinks they are doing noise, can we see it that way at all? Is it possible? AE: We had two labels that we used from the start: both an "open call," and the word "curation." So there was both the idea that it was a self-defined or user-defined topic, but also that we had a role in helping define it further.BJ: An important part of the curation, I think, is that we had pieces that were not dealing with the acoustic quality of noise but were actually more invested 1 For further reading and listening, see the Noise Non-ference website, last modified March 29,

Thanks are of course also due to each of the contributors to the book for their considerable investments of time, energy, and expertise, as well as the many friends and colleagues who provided both formal and informal review and editorial advice, and to those who additionally contributed papers, workshops, installations, and performances for the Noise In And As Music Symposium held at the Centre for Research in New Music (CeReNeM), University of Huddersfield, October 4-6, 2013. Eryck Abecassis is a Paris-based musician active as a composer of instrumental and electronic music, noise, and opera, and as a performer of electric bass/guitar, modular synthesizer, and laptop. His work can be heard in streets, landscapes, and urban architecture through concerts and installations worldwide.