• 1

    Neely, Adam, »Repetition Legitimizes – How to not suck at music #2,« uploaded August 2017, YouTube video (viewer submitted critiques), www.youtube.com/watch.

  • 2

    Danial John Williams, »The Art of Noise: Soundscapes of the Italian Futurists,« The Present Continuous, February 19, 2019.

  • 3

    »Pure Tones, Consonance and Dissonance,« University of Connecticut, accessed February, 18, 2023.

  • 4

    Mark Solomos, »Between morphological research and social criticism: notes on the aesthetics of noise in avant-garde music,« HAL Open Science, 2021.

  • 5

    David Novak, Japanoise: Music at the Edge of Circulation, (Durham: Duke University Press, 2013).

  • 6

    Whenever we play a note we actually hear a range of frequencies: we hear the dominant tone (the frequency of the main fundamental note) and a sequence of musical tones whose frequency is an integer multiple of the fundamental note. These intervals are considered »naturally« consonant, and form the basis of »Just Intonation Tuning.«

  • 7

    Alisa Daum, »The Establishment of Equal Temperament,« Music and Worship Student Presentations. 6 (April 2011).

  • 8

    Sylvia Parker, »Claude Debussy’s Gamelan,« College Music Symposium 52 (2012).

  • 9

    Ibid.

  • 10

    Ibid.

  • 11

    Taken from interviews for this article by Farhad Mirza.

  • 12

    Ibid.

  • 13

    Ibid.

  • 14

    Ibid.

  • 15

    Ibid.

  • 16

    Neil Sorrell and Ram Narayan, Indian Music in Performance: A Practical Introduction (Manchester University Press, 1980).

  • 17

    Kristoffer Jensen, »Irregularities, Noise and Random Fluctuations in Musical Sounds,«  The Journal of Music and Meaning 2, section 3 (Spring 2004).

  • 18

    Edgard Varèse, »The Liberation of Sound,« Perspectives of New Music 5, 1 (Autumn–Winter 1966): 11–19.

  • 19

    Brian Eno, »Ambient Music«. Liner notes for Ambient 1: Music for Airports. PVC Records, PVC 7908 (AMB 001), 1978.