• 1

    On media archaeology and the non-neutrality of transmission, see Wolfgang Ernst, Digital Memory and the Archive, ed. Jussi Parikka (Minneapolis: University of Minnesota Press, 2013); and Jussi Parikka, What Is Media Archaeology? (Cambridge: Polity Press, 2012).

  • 2

    Sean Alexander Gurd, Dissonance: Auditory Aesthetics in Ancient Greece (New York: Fordham University Press, 2016), 97–99. The Pythian nome is described in pseudo-Plutarch, De Musica 1133c–1134a.

  • 3

    On the syrigmos, see Gurd, Dissonance, 98–99; Martin L. West, Ancient Greek Music (Oxford: Clarendon Press, 1992), 105–6.

  • 4

    For comprehensive accounts of the aulos, see West, Ancient Greek Music, 81–109; Stefan Hagel, Ancient Greek Music: A New Technical History (Cambridge: Cambridge University Press, 2009), 327–84.

  • 5

    Peter Wilson, »The Aulos in Athens,« in Performance Culture and Athenian Democracy, ed. Simon Goldhill and Robin Osborne (Cambridge: Cambridge University Press, 1999), 58–95.

  • 6

    On the Athena-Marsyas myth and its regulatory function, see Gurd, Dissonance, 77–96.

  • 7

    Gurd, Dissonance, 96–114.

  • 8

    West, Ancient Greek Music, 83–84, 97–98. On specific instruments, see Stefan Hagel, »Understanding the Aulos Berlin Egyptian Museum 12461/12462,« in Studien zur Musikarchäologie VI, ed. Ellen Hickmann, Arnd Adje Both, and Ricardo Eichmann (Rahden: Marie Leidorf, 2008), 67–106; Stelios Psaroudakes, »The Aulos of Poseidonia,« Greek and Roman Musical Studies 2 (2014): 117–49.

  • 9

    On the Telescopic Aulos of Atlas, see the liner notes to Lukas De Clerck, The Telescopic Aulos of Atlas (Ideologic Organ, 2024). Available at lukasdeclerck.bandcamp.com/album/the-telescopic-aulos-of-atlas.

  • 10

    De Clerck, liner notes to The Telescopic Aulos of Atlas.

  • 11

    Lukas De Clerck, artist statement, lukasdeclerck.com/Info.

  • 12

    De Clerck, liner notes to The Telescopic Aulos of Atlas.

  • 13

    On the assumptions embedded in standard audio feature extraction, see Alexander Lerch, An Introduction to Audio Content Analysis, 2nd ed. (Hoboken, NJ: Wiley, 2022); Michael A. Casey et al., »Content-Based Music Information Retrieval,« Proceedings of the IEEE 96, no. 4 (2008): 668–96.

  • 14

    On the epistemological implications of feature selection, see Jonathan Sterne, MP3: The Meaning of a Format (Durham, NC: Duke University Press, 2012).

  • 15

    Geoffroy Peeters et al., »The Timbre Toolbox: Extracting Audio Descriptors from Musical Signals,« Journal of the Acoustical Society of America 130, no. 5 (2011): 2902–16.

  • 16

    The symposium proceedings were published as Peter Weibel, Ludger Brümmer, and Sharon Kanach, eds., From Xenakis's UPIC to Graphic Notation Today (Karlsruhe: ZKM; Ostfildern: Hatje Cantz, 2020).

  • 17

    On the UPIC's architecture, see Peter Hoffmann, »Music Out of Nothing?« (PhD diss., Technische Universität Berlin, 2009); Makis Solomos, »Xenakis and the UPIC,« in Weibel, Brümmer, and Kanach, 89–102.

  • 18

    nUPIC source code: github.com/mpietrus00/nUPIC.

  • 19

    Bálint András Varga, Conversations with Iannis Xenakis (London: Faber and Faber, 1996), 88.

  • 20

    Maryanne Amacher, liner notes to Sound Characters (Making the Third Ear) (New York: Tzadik, 1999).

  • 21

    Christopher Haworth, Auditory Distortion Synthesis (Superpang, 2023), with accompanying essay.

  • 22

    Giuseppe Tartini, Trattato di musica secondo la vera scienza dell'armonia (Padua: Stamperia del Seminario, 1754).

  • 23

    Hermann von Helmholtz, On the Sensations of Tone, trans. Alexander J. Ellis (London: Longmans, Green, 1885; repr., New York: Dover, 1954).

  • 24

    Gary S. Kendall, Christopher Haworth, and Rodrigo F. Cádiz, »Sound Synthesis with Auditory Distortion Products,« Computer Music Journal 38, no. 4 (2014): 5–23. Esteban Gutiérrez, Christopher Haworth, and Rodrigo F. Cádiz, »Generating Sonic Phantoms with Quadratic Difference Tone Spectrum Synthesis,« Computer Music Journal 47, no. 3 (2023): 19–34. Original implementation: github.com/cordutie/QDTS.

  • 25

    My SuperCollider implementation: github.com/mpietrus00/QDTS_SC.

  • 26

    On the spatial properties of auditory distortion products, see Kendall, Haworth, and Cádiz, »Sound Synthesis with Auditory Distortion Products,« 18–20.

  • 27

    For the discarding of the aulos, see Pindar, Pythian 12; for the flaying, Ovid, Metamorphoses 6.382–400. On the myth's cultural function, see Gurd, Dissonance, 77–96.

  • 28

    Gurd, Dissonance, 96–114.