Abstract
The orofacial complex is the primarily link between the instrument and the instrumentalist when performing the musician's embouchure. The contact point is established between the saxophonist lower lip, the upper maxillary dentition and the mouthpiece. The functional demands of the saxophone player and consequent application of forces with an excessive pressure can significantly influence the orofacial structures. A thermographic evaluation was performed to an anatomical zone vital for the embouchure, such as the lip of the saxophonist. Substantial temperature changes occurred before and after playing saxophone. The specificity of the embouchure regarding the position of the lower lip inside the oral cavity, the anatomy and position of the central lower incisors can be some of the factors involved in the origin of the existing temperature differences on the thermographic evaluation.

Abstract
We present DIGItal sTeps (DIGIT), a system for assisting in the creation of footstep sounds in a post-production foley context—a practice that recreates all diegetic sounds for a moving image. The novelty behind DIGIT is the use of the acoustic (haptic) response of a gesture on a tangible interface as means for navigating and retrieving similar matches from a large database of annotated footstep sounds. While capturing the tactile expressiveness of the traditional sound foley practice in the exploration of physical objects, DIGIT streamlines the workflow of the audio post production environment for film or games by reducing its costly and time-consuming requirements. © 2018, Springer Nature Switzerland AG.

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
We present MixMash, an interactive tool to assist users in the creation of music mashups based on cross-modal associations between musical content analysis and information visualisation. Our point of departure is a harmonic mixing method for musical mashups by Bernardes et al. [1]. To surpass design limitations identified in the previous method, we propose a new interactive visualisation of multidimensional musical attributes-hierarchical harmonic compatibility, onset density, spectral region, and timbral similarity-extracted from a large collection of audio tracks. All tracks are represented as nodes whose distances and edge connections indicate their harmonic compatibility as a result of a force-directed graph. In addition, we provide a visual language that aims to enhance the tool usability and foster creative endeavour in the search for meaningful music mixes.

Abstract
We present Variações sobre Espaço #6, a mixed media work for saxophone and electronics that intersects music, digital technologies and architecture. The creative impetus supporting this composition is grounded in the interchange of the following two concepts: 1) the phenomenological exploration of the aural architecture (Blesse & Salter 2007) particularly the reverberation as a sonic effect (Augoyard & Torgue 2005) through music performance and 2) the real time sound analysis of both the performance and the reverberation (i.e. impulse responses) intervallic content — which ultimately leads to a generic control over consonance/dissonance (C/D). Their conceptual and morphological nature can be understood as sonic improvisations where the interaction of sound producing bodies (i.e. the saxophone) with the real (e.g. performance space) and the imaginary (i.e. computer) acoustic response of a space results in formal elements mirroring their physical surroundings.

Abstract
We present ?Soniferous Resonances?, an ongoing collection of electroacoustic composition pieces that intersect music, digital technologies and architecture. The creative impetus supporting this research is grounded in the interchange of the following two concepts: 1) the phenomenological exploration of the aural architecture [1], particularly the reverberation as a sonic effect [2] through music performance and 2) the real time sound analysis of both the performance and the reverberation (i.e. impulse responses) intervallic content — which ultimately leads to a generic control over consonance/dissonance (C/D). Their conceptual and morphological nature can be understood as sonic improvisations where the interaction of sound producing bodies (e.g. saxophone) with the real (e.g. performance space) and the imaginary (i.e. computer) acoustic response of a space results in formal elements mirroring their physical surroundings. Particular emphasis is given to spectromorphological manipulations by a large array of “contrasting” digital reverberations with extended control over the sound mass [3] and its musical interval content across a continuum between pitched and consonant to unpitched and dissonant sounds. Two digital applications developed by the authors are seminal in Soniferous Resonances?: Wallace [4] and MusikVerb [5]. The first is a navigable user-control surface that offers a fluid manipulation of audio signals to be convolved with several “contrasting” digital reverberations. The second offers refined (compositional) control over the interval content and/or C/D levels computed from the perceptually-inspired Tonal Interval Space [6] resulting in an automatically adaptation of harmonic content in real time. Soniferous Resonances? aims at pushing the boundaries of musical performances that are formally tied to its surrounding space, as well as triggering new concepts and greater awareness about the sublime qualities of experiencing aural architecture.