Abstract
In this paper we present Qualia, a software for real-time generation of graphical scores driven by the audio analysis of the performance of a group of musicians. With Qualia, the composer analyses and maps the flux of data to specific score instructions, thus, becoming part of the performance itself. Qualia is intended for collaborative performances. In this context, the creative process to compose music not only challenges musicians to improvise collaboratively through active listening, as typical, but also requires them to interpret graphical instructions provided by Qualia. The performance is then an interactive process based on “feedback” between the sound produced by the musicians, the flow of data managed by the composer and the corresponding graphical output interpreted by each musician. Qualia supports the exploration of relationships between composition and performance, promoting engagement strategies in which musicians participate actively using their instrument. © 2017 Manuel Brásio et al. This is an open-access article dis- tributed under the terms of the Creative Commons Attribution License 3.0 Unported, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

Abstract
In this article we present beatings, a web application for the exploration of tuning and temperaments which pays particular attention to auditory phenomena resulting from the interaction of the spectral components of a sound, and in particular to the pitch fusion and the amplitude modulations occurring between the spectral peaks a critical bandwidth apart. By providing a simple, yet effective, visualization of the temporal evolution of this auditory phenomena we aim to foster new research in the pursuit of perceptually grounded principles explaining Western tonal harmonic syntax, as well as provide a tool for musical practice and education, areas where the old art of musical tunings and temperaments, with the notable exception of early music studies, appears to have long been neglected in favour of the practical advantages of equal temperament. Copyright: © 2016 Rui Penha et al. This is an open-access article distributed under the terms of the Creative Commons Attribution 3.0 Unported License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

Abstract
This paper describes a novel framework for real-time sonification of surface textures in virtual reality (VR), aimed towards realistically representing the experience of driving over a virtual surface. A combination of capturing techniques of real-world surfaces are used for mapping 3D geometry, texture maps or auditory attributes (aural and vibrotactile) feedback. For the sonification rendering, we propose the use of information from primarily graphical texture features, to define target units in concatenative sound synthesis. To foster models that go beyond current generation of simple sound textures (e.g., wind, rain, fire), towards highly “synchronized” and expressive scenarios, our contribution draws a framework for higher-level modeling of a bicycle's kinematic rolling on ground contact, with enhanced perceptual symbiosis between auditory, visual and vibrotactile stimuli. We scanned two surfaces represented as texture maps, consisting of different features, morphology and matching navigation. We define target trajectories in a 2-dimensional audio feature space, according to a temporal model and morphological attributes of the surfaces. This synthesis method serves two purposes: a real-time auditory feedback, and vibrotactile feedback induced through playing back the concatenated sound samples using a vibrotactile inducer speaker. Copyright: © 2019 Eduardo Magalhães et al. This is an open-access article distributed under the terms of the Creative Commons Attribution 3.0 Unported License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

Abstract
We present MusikVerb, a novel digital reverberation capable of adapting its output to the harmonic context of a live music performance. The proposed reverberation is aware of the harmonic content of an audio input signal and ‘tunes’ the reverberation output to its harmonic content using a spectral filtering technique. The dynamic behavior of MusikVerb avoids the sonic clutter of traditional reverberation, and most importantly, fosters creative endeavor by providing new expressive and musically-aware uses of reverberation. Despite its applicability to any input audio signal, the proposed effect has been designed primarily as a guitar pedal effect and a standalone software application. Copyright

Abstract
In tonal music, musical tension is strongly associated with musical expression, particularly with expectations and emotions. Most listeners are able to perceive musical tension subjectively, yet musical tension is difficult to be measured objectively, as it is connected with musical parameters such as rhythm, dynamics, melody, harmony, and timbre. Musical tension specifically associated with melodic and harmonic motion is called tonal tension. In this article, we are interested in perceived changes of tonal tension over time for chord progressions, dubbed tonal tension profiles. We propose an objective measure capable of capturing tension profile according to different tonal music parameters, namely, tonal distance, dissonance, voice leading, and hierarchical tension. We performed two experiments to validate the proposed model of tonal tension profile and compared against Lerdahl's model and MorpheuS across 12 chord progressions. Our results show that the considered four tonal parameters contribute differently to the perception of tonal tension. In our model, their relative importance adopts the following weights, summing to unity: dissonance (0.402), hierarchical tension (0.246), tonal distance (0.202), and voice leading (0.193). The assumption that listeners perceive global changes in tonal tension as prototypical profiles is strongly suggested in our results, which outperform the state-of-the-art models.

Abstract
Background: The occurrence of an orofacial trauma can originate health, social, economic and professional problems. A 13-year boy suffered the avulsion of tooth 11 and 21, lost at the scenario. Methods: Three intraoral appliances were manufactured: A Hawley appliance with a central expansion screw and two central incisors (1), trumpet edentulous anterior tooth appliance (2) and a customized splint (3) were designed as part of the rehabilitation procedure. Objectively assessing the sound quality of the trumpet player with these new devices in terms of its spectral, temporal, and spectro-temporal audio properties. A linear frequency response microphone was adopted for precision measurement of pitch, loudness, and timbre descriptors. Results: Pitch deviations may result from the different intra-oral appliances due to the alteration of the mouth cavity, respectively, the area occupied and modification/interaction with the anatomy. This investigation supports the findings that the intra-oral appliance which occupies less volume is the best solution in terms of sound quality. Conclusions: Young wind instrumentalists should have dental impressions of their teeth made, so their dentist has the most reliable anatomy of the natural teeth in case of an orofacial trauma. Likewise, the registration of their sound quality should be done regularly to have standard parameters for comparison.