TENOR - International Conference on Technologies for Music Notation and Representation

2024

FULL TENOR'24 PROCEEDINGS

Bibtex | .bib

@book{
	tenor2024,
  	Title = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
	year = 2024,
	editor = {Philippe Kocher},
	publisher = {Zurich University of the Arts},
	address = {Zurich, Switzerland},
	isbn = {978-0-6481592-7-8};
}

The Composer Photograph: A Framework Towards Describing Overtones in Animated Notation

Helen Svoboda, Cat Hope

Abstract Bibtex

This paper explores a set of notational possibilities for overtones on the double bass. Engaging animated notation approaches across two compositions, Wormwood (2022) and Ice Bubbles (2023), an imaginative solution is sought to address some of the issues and confusion surrounding traditional overtone scoring for string instruments. Photographs taken by the composer are engaged as sketches to form a starting point for both works, and as a source for visual information for the representation of particular overtone pitch sets and timbre. This is intended to create a more intuitive method for the depiction of instrument prep-arations and effects. In Wormwood, insect patterns photo-graphed in the bark of a tree were drawn and put into mo-tion on a computer. Ice Bubbles begins with a map of a floating ice island that is treated as territory for a boat journey from one shore to another. These starting points provide an overarching theme for the design of further details, resulting in two works that prompt new and unfamiliar creative decisions from the performer, responding to focussed compositional parameters in real time. This paper outlines the aims and processes of what we term the ‘composer photograph’ for a double bass performance of these works by the composer.

@inproceedings{Svoboda_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Helen Svoboda and Cat Hope },
  Title = {The Composer Photograph: A Framework Towards Describing Overtones in Animated Notation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {1-7},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

FORMS: Generative Visual Music Through Graphic Notation and Spectrogram Synthesis .

Santiago Vilanova Ángeles

Abstract Bibtex

This paper presents an in-depth analysis of FORMS, an ex-tensive generative visual music research project that blends graphic notation with spectrogram synthesis. Rooted in the principles of generative music, FORMS encompasses a broad spectrum of digital art projects, uniﬁed by a unique software framework. The research bifurcates into two pivotal domains: spectrogram synthesis via digital image soniﬁcation and graphic notation tailored for musical in-struments. This comprehensive study sheds light on the transformative capabilities of visual-to-auditory conver-sions in contemporary generative music, providing novel perspectives on animated algorithmic notation systems and some of their possible artistic applications.

@inproceedings{Vilanova Ángeles_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Santiago Vilanova Ángeles },
  Title = {FORMS: Generative Visual Music Through Graphic Notation and Spectrogram Synthesis .},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {8-17},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Evaluation of Digital Musicianship in Higher Education Through Playing and Creating Digital Scores

Solomiya Moroz, Craig Vear, Fabrizio Poltronieri

Abstract Bibtex

This paper presents an evaluation of digital musicianship with digital scores. Primary data was gathered during the DigiScore ‘Roadshow’ of North American universities’ music departments in 2023 and an extended research workshop in Avellino, Italy, 2023. The activities consist of interactive lectures and practice-based workshops that involve students by asking them to reﬂect on the nature of their digital musicianship through digital scores. In deﬁning digital musicianship we adopt Hugill’s deﬁnition of musicianship as “a person’s ability to perceive, understand and create sonic experiences,” and expand upon this with Brown’s Sound Musicianship. Through the lectures and work-shops, we gathered data using online interactive polls and questionnaires in person. This data gathering was divided into: a) skills; b) contexts, cultures & literacy; c) musical identity & creative practice; and d) perception & aware-ness of (digital) music. In the paper, we present an analy-sis of this data and correlate it with observations from these sessions. In our discussion, we point to the interconnect-edness of the sub-categories and also draw a connection between digital musicianship and creativity.

@inproceedings{Moroz_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Solomiya Moroz and Craig Vear and Fabrizio Poltronieri },
  Title = {Evaluation of Digital Musicianship in Higher Education Through Playing and Creating Digital Scores},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {18-27},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Immanence: Envisioning Music in a Post-AnthropocentricWorld Through VR Representation

Chloë Sobek

Abstract Bibtex

Immanence is a work created for Renaissance violone, field recordings and electronics. This paper outlines the process of creating the digital animated notation, virtual reality (VR) score for the work. The score also functions as an immersive environment in which the audience experiences the audio-visual work via a VR headset. Additionally, I argue that a VR score that functions as an immersive experience has the potential to reinforce the broader conceptual concerns of a musical work. Moreover, it could further suggest a necessary expansion of the parameters by which be we define what music is and how it is represented, leading to new understandings and reflections on VR and musical composition. These ideas are underpinned by a response to Australian musician Jim Denley’s provocations on contemporary music making, an ongoing commitment to considerations of post-anthropocentrism and a need to question predominantly humanist tenets that are still embedded across Western art music; the hope being that this paper could provide new methodologies for creating post-anthropocentric musical works.

@inproceedings{Sobek_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Chloë Sobek },
  Title = {Immanence: Envisioning Music in a Post-AnthropocentricWorld Through VR Representation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {28-34},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Sketch, Draft and Refined Hypothesis Testing as a Creative Process in Audio Portraiture

Maree Sheehan

Abstract Bibtex

Audio-portraiture describes a discrete, immersively expe-rienced, audio rendering of an individual’s identity. Paradigmatically the development and creation of these audio portraits is informed by te ao Māori philosophies, knowledge and understandings. Within a process of reflective practice, I can trace the iterative development of my portraiture through three forms of experiments, audio-sketching, audio-drafting and refined hypothesis testing. These three forms of experimentation offer a progressive artistic practice-led approach of a non-linear fashion. Immersive sound technologies are utilized to record, synthesize and spatially position interpretations of the per-son’s perspectives, experiences and nature. This paper provides an overview of how audio-portrait provide an artistic synthesis of sonic practices resulting in activating sensory responses for a listener that reach beyond the parameters of visual portraiture. This is because 360 immersive and binaural sound-capture technologies can be orchestrated into artistic works that convey unique experiences of space and time. Such work may be designed as a distinctive form of portraiture. Significantly, audio portraiture demonstrates the multidimensionality of wāhine Māori (Māori women) through artistic interpretation and representation in ways that are culturally authentic and unique.

@inproceedings{Sheehan_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Maree Sheehan },
  Title = {Sketch, Draft and Refined Hypothesis Testing as a Creative Process in Audio Portraiture},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {35-43},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

A Matter of Notation: Case Studies in Materiality, Temporality, and the Score-Object

Kate Milligan

Abstract Bibtex

From a posthuman perspective, music-making can be understood as a lively assemblage of human and non-human agents. Within this framework the term ‘music culture’ expands to include more-than-human contexts, scales, and temporalities. The question therefore arises: how might composers facilitate musical experiences “beyond the ‘mesoscopic bubble’, within which our human perception and phenomenological considerations are still enclosed? In this paper, I position the score-object as a subject with material vitality, and an active participant in the balance of agencies in the musical assemblage. Specifically, I employ the notion of “medium time” as outlined by Georgina Born to understand how musical objects act independently in and on time. Through material intervention in my notational practice, I assess the balance of these agencies as they arise in musical experiences. More specifically, in this material context, I am continuing an investigation of “watery logics”, incorporating water into my practice as medium (and subject) of primary focus. In this paper, I present two material-compositional case studies from 2023, wherein animated notation is re-mediated by water for generative visual re-sults, resulting in fluid dispersion of musical agency. Finally, I position this discussion within a broader posthu-man discourse of ethics.

@inproceedings{Milligan_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Kate Milligan },
  Title = {A Matter of Notation: Case Studies in Materiality, Temporality, and the Score-Object},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {44-52},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Perfect Information: Scores As Self-Evident Processes

James Saunders

Abstract Bibtex

Self-evident processes in music suggest the possibility of close engagement with the operation of a piece, with the potential for empathic and communal experiences to be had by both participants and observers. Taking the notion of perfect and imperfect information in games as a starting point, the paper considers what might be gained by presenting scores as systems of perfect information. In games with perfect or public information, all the necessary information is made available to us, so we have the potential to understand player choices and empathise with them when spectating. In process music, if the necessary information is made available to us we also have the potential to understand player choices and empathise with them. The paper considers the development of self-evident music in this context, proposing three modes of information delivery: demonstrating, explaining and showing. These modes are considered in relation to the management of information ﬂow and the corresponding cognitive load placed on listeners through the control of speed, density, simultaneity and sequentiality in the presentation of instructions.

@inproceedings{Saunders_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { James Saunders },
  Title = {Perfect Information: Scores As Self-Evident Processes},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {53-57},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Egdard Varèse’s Poème électronique: An Analysis of Recently Discovered Sources

Leo Izzo

Abstract Bibtex

The article investigates the genesis of Poème électronique by Edgard Varèse, analyzing several previously unknown or overlooked sources, which have been recently identified in the Varèse collection at the Paul Sacher Stiftung (Basel). The article examines two types of sources: Varèse’s musical manuscripts and the technical plan for the sound spatialization of the entire piece, made by Philips engineers. While Varèse’s sketches and drafts for Poème électronique had been neglected for years, the complete spati-alization plan was once thought to be lost but has been recently rediscovered. These new sources reveal a largely unknown, long and complex process of creation, from the first music sketches to the final performance inside the Philips pavilion, a landmark in architecture designed by Le Corbusier for Brussels Expo in 1958. The article focuses on a short section of the piece, marked by Varèse as section F, that serves as a case study. Varèse composed this section by merging diagrams for electronic sounds, and conven-tional scores, such as fragments of his unpublished composition Étude pour Espace (1947). The spatialization plan for section F, coherent with Varèse’s music manuscripts, suggests the vertical movements of drops falling from the ceiling. In future developments of this research, the composer’s sketches and the project plan for the sound spatialization, both largely overlooked, could offer fresh insights for a deeper comprehension of the composition process and performance practice of this seminal work.

@inproceedings{Izzo_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Leo Izzo },
  Title = {Egdard Varèse’s Poème électronique: An Analysis of Recently Discovered Sources},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {58-64},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Challenging Epistemic Biases in Musical AI: A Guerrilla Approach to Human-Machine Comprovisation Based on Xenakis’s Sketches for Evryali

Pavlos Antoniadis

Abstract Bibtex

The objective of this paper is to reflect on the affordances of sketches as interfaces for human and machine learning, by way of a casestudy based on Iannis Xenakis’s Evryali (1973). First, I report on one-to-one mappings between the composer’s original sketches and the symbolic notation in-tended for performance. Then, there is an outline of the sketches’ deviations from the symbolic score and their potential in offering indispensable analytical insights for learning. The decoupling of sketch and score intensifies as performance multimodal data enter the framework of my analysis, allowing for the emergence of one-to-many mappings among those three distinct representation domains. This multiplicity of relations fuels the creation of gesture-controlled, augmented, and interactive tablatures, which are based on the sketches and incorporate graphic and multimodal elements to bypass conventional notation. Finally, I report on the use of tablatures as both preparation and performance tools in a human-machine comprovisation setting, involving a human trained to improvise on complex scores, an AI agent trained on a corpus of recordings, and a gesture-follower trained on the performance of sketches. As a postlude, the potential of one-to-many mappings for challenging established epistemic biases in musical AI is stressed. I capitalize on the unpredictability generated by the interplay between couplings and decouplings of different representation domains, affirming the transitory nature and inherent malleability of sketches.

@inproceedings{Antoniadis_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Pavlos Antoniadis },
  Title = {Challenging Epistemic Biases in Musical AI: A Guerrilla Approach to Human-Machine Comprovisation Based on Xenakis’s Sketches for Evryali},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {65-72},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

From Sonic Gesture to Composition: Mapping the Path for the Physical Computing Instrument

João Coimbra, Henrique Portovedo, Sara Carvalho

Abstract Bibtex

As a composer and multi-instrumentalist, I use the studio as a tool for real-time performance and composition. In recent years, this process has suffered constraints due to my need to incorporate more studio elements to produce and manipulate sound. My research project seeks to address these challenges by developing and mapping a digital musical instrument – the Physical Computing Instrument (PCI) – that uses gestures to produce sound. In this paper, we delve into recent developments in our research, exploring three gestural Digital Musical Instruments (DMIs) as exploratory tools for refining the PCI's design and functionality. We focus on the musical challenges arising from it, encompassing idiomatic writing, notation, and performance, and how these aspects, contribute to the PCI's development, clarifying its scope and identity, while establishing a systematized approach for its practice. Additionally, the paper introduces two original compositions, accompanied by notational sketches and mapping strategies tailored for these gestural controllers. These elements provide valuable insights into the prototyping of the PCI, showcasing its potential applications.

@inproceedings{Coimbra_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { João Coimbra and Henrique Portovedo and Sara Carvalho },
  Title = {From Sonic Gesture to Composition: Mapping the Path for the Physical Computing Instrument},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {73-79},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Xnk and Hands2MIDIChannels: New Software Tools for Composers and Improvisers

Carlos Mauro

Abstract Bibtex

In the evolving landscape of 21st-century music, composers are turning to software tools to enhance creative workﬂows and improve composing efﬁciency. This paper introduces two novel tools independently developed by the author: Xnk and Hands2MIDIChannels. Xnk is a deterministic graphic music notation parser that processes .PNG images to produce a .TXT ﬁle suitable for the bach.roll object in MaxMSP. By merging qualities of abstract graphics and traditional notations, Xnk provides an alternative approach for composers in music sketching and composition. Meanwhile, Hands2MIDIChannels allocates MIDI events corresponding to a keyboard instrument to speciﬁc MIDI channels based on the hand that triggered the event. This allocation is derived by cross-referencing the original MIDI ﬁle with a synchronized video capturing the performer’s hand movements over the keyboard. Notably, this tool offers invaluable utility to composers, improvisers, and musicians with disabilities. It enhances compositional efﬁciency by automating hand-based event assignation, enabling the swift transformation of improvisations into readable scores. The paper will explore the technical aspects, justiﬁcation, current limitations, and potential avenues for both tools.

@inproceedings{Mauro_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Carlos Mauro },
  Title = {Xnk and Hands2MIDIChannels: New Software Tools for Composers and Improvisers},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {80-88},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Sketching Magnetic Interactions for Neural Synthesis

Nicola Privato, Giacomo Lepri, Thor Magnusson, Einar Torfi Einarsson

Abstract Bibtex

The application of neural synthesis for sound generation has grown signiﬁcantly in recent years. Models such as RAVE offer real-time control by mapping sounds to and from numerical vectors in an abstract latent space whose features of entanglement, arbitrariness, and continuity pose novel challenges to musicians and composers in encoding and interpreting the inscription. In this paper, we introduce Stacco, a magnetic score system that addresses these challenges by functioning as a performative and compositional support for neural synthesis models through embodied sketching. We describe the system and present insights from a workshop aimed at exploring the compositional potential of this platform. We conclude by reﬂecting on how, during the workshop, Stacco’s playfulness and magnetic materiality translated into the participants’ scores and on the broader implications of embodied sketching in notating music for neural synthesis.

@inproceedings{Privato_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Nicola Privato and Giacomo Lepri and Thor Magnusson and Einar Torfi Einarsson },
  Title = {Sketching Magnetic Interactions for Neural Synthesis},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {89-97},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Tokenization of MIDI Sequences for Transcription

Florent Jacquemard, Masahiko Sakai, Yosuke Amagasu

Abstract Bibtex

There generally exists no simple one-to-one relationship between the events of a MIDI sequence, such as note-on and note-off messages, and the corresponding music notation elements, such as notes, rests, chords, and ornaments. We propose a method for building a formal correspon-dence between them through a notion of tokens in an input MIDI event sequence and an effective tokenization approach based on a hierarchical representation of music scores. Our tokenization procedure is integrated with an algorithm for music transcription based on parsing wrt a weighted tree grammar. Its effectiveness is shown in ex-amples.

@inproceedings{Jacquemard_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Florent Jacquemard and Masahiko Sakai and Yosuke Amagasu },
  Title = {Tokenization of MIDI Sequences for Transcription},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {98-108},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Engraving Oriented Joint Estimation of Pitch Spelling and Local and Global Keys

Augustin Bouquillard, Florent Jacquemard

Abstract Bibtex

We revisit the problems of pitch spelling and tonality guessing with a new algorithm for their joint estimation from a MIDI ﬁle including information about the measure boundaries. Our algorithm does not only identify a global key but also local ones all along the analyzed piece. It uses Dynamic Programming techniques to search for an optimal spelling in term, roughly, of the number of accidental symbols that would be displayed in the engraved score. The evaluation of this number is coupled with an estimation of the global key and some local keys, one for each measure. Each of the three informations is used for the estimation of the other, in a multi-steps procedure. An evaluation conducted on a monophonic and a piano dataset, comprising 216 464 notes in total, shows a high degree of accuracy, both for pitch spelling (99.5% on average on the Bach corpus and 98.2% on the whole dataset) and global key signature estimation (93.0% on average, 95.58% on the piano dataset). Designed originally as a backend tool in a music transcription framework, this method should also be useful in other tasks related to music notation processing.

@inproceedings{Bouquillard_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Augustin Bouquillard and Florent Jacquemard },
  Title = {Engraving Oriented Joint Estimation of Pitch Spelling and Local and Global Keys},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {109-120},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Morton Feldman’s “Projections One to Five” – Exploring a Classical Avant-Garde Notation by Mathematical Remodelling

Markus Lepper, Baltasar Trancón y Widemann

Abstract Bibtex

The compositions Projection 1 to Projection 5 by Morton Feldman are an important milestone in the applica-tion of graphical notation. The meta language tscore allows easy construction of a computer model of the original scores. On this model, automated performance, graphical rendering, and different analyses can be applied. The practical implementation work brings up the peculiarities of the original notational meta-model and scores, which without this effort are easily overlooked.

@inproceedings{Lepper_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Markus Lepper and Baltasar Trancón y Widemann },
  Title = {Morton Feldman’s “Projections One to Five” – Exploring a Classical Avant-Garde Notation by Mathematical Remodelling},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {121-132},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

DJster Revisited – A Probabilistic Music Generator in the Age of Machine Learning

Georg Hajdu

Abstract Bibtex

DJster is a probabilistic generator for musical textures based on Clarence Barlow’s legacy program Autobusk, further developed by Hajdu since 2008. The 2023 revision for Max and Ableton Live includes new features improving the versatility of the application and enabling data exchange between the synchronous and asynchronous incarnations. The synchronous incarnation of DJster can be used to preview a texture to be further developed as a sketch in the asynchronous one. DJster allows the real-time addition and modification of tonal and metric profiles departing from Barlow’s original fixed-input paradigm. This motivated an exploration of metric interpolations by means of self-organizing maps and an extension of Jean-Claude Risset’s illusion of an ever-accelerating rhythm. Furthermore, the implementation of a novel melodic cohesion parameter allows transitions from a sequence of events to a probabilistic process, the latter being the original modus operandi. Finally, DJster as a style-agnostic music generator can be embedded in machine-learning contexts to make user interaction a more rich and intuitive experience.

@inproceedings{Hajdu_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Georg Hajdu },
  Title = {DJster Revisited – A Probabilistic Music Generator in the Age of Machine Learning},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {133-141},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Sound Synthesis Notation Applied to Performance: Two Case Studies

Pierre-Luc Lecours, Nicolas Bernier

Abstract Bibtex

This article investigates the specificities of music writing and interpretation on the modular synthesizer. Based on two musical notation experiments, it will discuss the issues first from the point of view of the composer and then from that of the performer. This article will begin by presenting the notation approach in the composition of Pierre-Luc Lecours’s piece Poussière de soleil (2022) performed by Ensemble d’oscillateurs. Then it will analyze the stages involved in creating an interpretation of Nicolas Bernier’s composition Transfer for 10 monophonic synthesizers (2022). These two experiences revealed issues and strategies used when writing and interpreting a piece with modular synthesizers, pointing toward a notation framework for this instrument.

@inproceedings{Lecours_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Pierre-Luc Lecours and Nicolas Bernier },
  Title = {Sound Synthesis Notation Applied to Performance: Two Case Studies},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {142-149},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

EMA: An Analytical Framework for the Identification of Game Elements in Gamified Screen-Score Works

Takuto Fukuda, Paul Turowski

Abstract Bibtex

Gamiﬁed compositions – music involving game elements (e.g., avatars and life points) – have been booming in the ﬁeld of interactive computer music. However, only a few studies have addressed which game elements engender the sense of playfulness in performer-computer interactions in music. This gap may exist because existing analytical frameworks primarily focus on identifying game elements in consumer products rather than musical compositions. To address the lack of analytical frameworks for gamiﬁed musical works, this paper proposes the Expanded Motivational Affordances (EMA) model as an analytical framework for identifying game elements in gamiﬁed screen-score works. Through an analysis of Super Colliders by T. Fukuda and SQ2 by P. Turowski as case studies, this paper provides a comprehensive list of game elements and discusses what motivational needs for performers these elements satisfy. The EMA model with the resulting list of game elements aims to assist composers in gaining a better understanding of performer-computer interactions in gamiﬁed screen-score works. It enables composers to analyze and design such interactions more effectively in their fu-ture compositions, enhancing the overall experience for performers.

@inproceedings{Fukuda_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Takuto Fukuda and Paul Turowski },
  Title = {EMA: An Analytical Framework for the Identification of Game Elements in Gamified Screen-Score Works},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {150-158},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

TABstaff+: A Hybrid Music Notation System for Grid-Based Tangible User Interfaces (TUIs) and Graphical User Interfaces (GUIs)

Lawrence Wilde, Charles White

Abstract Bibtex

TABstaff+ is a hybrid music notation developed for grid-based user interfaces. The system builds on notational elements and conventions of tablature, standard five-line staff notation, and chord diagrams. TABstaff+ strives to facilitate teaching and learning, composition and production, and performance using grid-based tangible user interfaces (TUIs) and graphical user interfaces (GUIs). For usability testing, the study involved seven participants, music production and composition students (ages 13 to 19) with prior musical experience. The paper considers the Ableton Push instrument to illustrate the application and adaptability of the TAB+, Staff+, and Charts+ notation systems. These notation systems aim to further the development of postdigital practices by leveraging Human-Computer In-teraction (HCI) and pre-digital practices of reading, playing, and teaching music using instruments and notation. TABstaff+ aims to be a transferable music notation system that allows educators and practicing musicians to utilize the pedagogical and creative capabilities of musical grid interfaces.

@inproceedings{Wilde_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Lawrence Wilde and Charles White },
  Title = {TABstaff+: A Hybrid Music Notation System for Grid-Based Tangible User Interfaces (TUIs) and Graphical User Interfaces (GUIs)},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {159-168},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Motion Capture Data As Machine-Readable Notation To Capture Musical Interpretation: Experimenting With Movement Sonification and Synthesis

Julien Mercier, Irini Kalaitzidi

Abstract Bibtex

Musical notation can be described as an abstract language that composers use so that performers may interprets a score. Such notation comes before interpretation, is reproducible, and although it contains hints targeted at the performer on how to interpret, the actual performance is uniquely situated in time and space. The only way to record and re-experience a sound performance is to use microphones, who transform acoustic waves into an electrical signal and usually lose at least some spatial dimension in the process. This may be hindering in the ﬁeld of experimental music, where physical limits of sound material may be put to the test. In this short paper, we discuss how motion capture could be an alternative to, or an expansion of the acoustic recording of a performance involving movement. By recording the performer’s movements, some of the dimensions that make their interpretation singular (i.e. character, accentuation, phrasing, and nuance) are retained. A method capturing sound through movement may be interesting in the context of sound synthesis with deep learning and hold potential advantages over current methods using MIDI or acoustic, that either lack dimensions or are very sensitive to noisy data. We brieﬂy discuss rationale, practical and theoretical foundations for the development of potentially innovative outputs.

@inproceedings{Mercier_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Julien Mercier and Irini Kalaitzidi },
  Title = {Motion Capture Data As Machine-Readable Notation To Capture Musical Interpretation: Experimenting With Movement Sonification and Synthesis},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {169-171},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Divine Rationality: Computational Transcription of Chants and Parametric Structuring in Historicized Composition

Dániel Péter Biró, Peter van Kranenburg

Abstract Bibtex

Our ongoing research into computational ethnomusicology, undertaken first in the project Computational Ethnomusicology and continuing in the projects Tunes and Tales and Sounding Philosophy, has allowed for a better understanding of the roles of scales, melodic contour and tuning in Jewish, Islamic and Christian chant traditions. While this research has also given way to new modes of notating chant cultures via computational means, it has also had a profound effect on the creation of what Dániel Péter Biró has termed historicized composition, a way of creating compositions that respond to, in this case, the historical development of chant traditions. To this end, the methodologies used for computational transcription of these chant traditions have been incorporated in compositional sketches and in innovative notational frameworks for new vocal music compositions. The following paper explores the methodology of this research, its technical properties and resulting compositional output, presenting examples from vocal and instrumental compositions completed between 2014 and 2022. Finally, we propose future work in these interdisciplinary research areas.

@inproceedings{Biró_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Dániel Péter Biró and Peter van Kranenburg },
  Title = {Divine Rationality: Computational Transcription of Chants and Parametric Structuring in Historicized Composition},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {172-178},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

Granular Poem Project: A Digital Score Based on Deconstruction of Chinese Idioms

Yuan Zhang, Xinran Zhang, Xiaobing Li

Abstract Bibtex

We have established a reusable and iterative digital score system, with Chinese four-character idioms at its core, enabling a collaboration between humans and artificial intelligence around selected idioms. Each entity engages in imagination and computation in its own unique way, facilitating spontaneous improvisation based on the mutual outputs. In this system, we have incorporated two models that we independently developed and trained: an AI-assisted modern Chinese poetry generation system and an AI-assisted piano MIDI generation system. Simultaneously, human participation in this musicking process takes two forms. First, human performers interpret graphic scores designed for the selected idioms, engaging in improvisations. Second, audience representative contribute by providing real-time feedback through EEG brainwave signals, actively participating in the creative process. This system explores and expands the ways in which composers create with the assistance of computational tools. Humans and artificial intelligence, converging around a shared theme, dance in mutual reflection on the aesthetic level, making the process itself profoundly poetic. Also, it is the deep involvement of both humans and artificial intelligence that establishes this digital score and gives it its unique characteristics. In this context, "deconstruction" refers to the process of subjecting the Chinese idioms selected in the Granular Poem Project to a series of direct and indirect processing steps, breaking them down into their constituent parts for the purpose of recombination, transformation, or reinterpretation. This process includes converting the idioms into modern poetry, musical fragments, and symbolically notated scores, as well as using these scores in improvised performances and selecting the next idiom to be processed based on brainwave activity. The aim of this deconstruction process is to reconsider and reinterpret the meaning and significance of idioms from different perspectives, in order to create new artistic forms and experiences.

@inproceedings{Zhang_tenor2024,
  Address = {Zurich, Switzerland},
  Author = { Yuan Zhang and Xinran Zhang and Xiaobing Li },
  Title = {Granular Poem Project: A Digital Score Based on Deconstruction of Chinese Idioms},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'24},
  Pages = {179-182},
  Year = {2024},
  Editor = {Philippe Kocher},
  Publisher = {Zurich University of the Arts},
  ISBN = {978-0-6481592-7-8}
}

2023

FULL TENOR'23 PROCEEDINGS

Bibtex | .bib

@book{tenor2023,
  Address = {Boston, Massachusetts, USA},
  Title = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'23},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}}

Structuring Censorship in Digital Score

Jaslyn Robertson

Abstract Bibtex

Digital scores allow for new ways to experiment with agency and perception within composition and performance. My recent works Censoring Experiment and Shadow Aria examine the possibilities for digital scores to incorporate methods of censorship with the aim of highlighting and unpacking the social issue. Despite an assumption that censorship is an issue of the past or limited to non-western countries, recent cases of artistic censorship in Australia and North America have brought attention to the ongoing problem, particularly as it affects marginalised artists and composers. In this paper, I discuss my two pieces that attempt to address, complicate, and subvert the issue of artistic censorship through experimental composition. Digital notation is the medium that allows these pieces to exaggerate real censorship and test how performers react creatively to censored environments. I argue that animated notation and mixed-media environments created through technology give me the ability to replicate and change a real-life social issue within a performance, letting my art not just comment on a political question, but work towards new insights through practice-based research.

@inproceedings{Robertson_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Jaslyn Robertson },
  Title = {Structuring Censorship in Digital Score},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {1 - 5},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

Online Survey on Usability and User Experience of Music Notation Editors

Matthias Nowakowski, Aristotelis Hadjakos

Abstract Bibtex

Although one can see a certain convergence between the interaction designs of different notation editors, there is no general consensus or standard since new interaction paradigms keep appearing with most major software updates or new products. In this paper, we present the results from an online survey (n = 138) with standardized usability and user experience questionnaires. The users of digital notation editors were asked to fill out the System Usability Score, the AttrakDiff2 and the Liveness questionnaire. This provides insights into domain specific design problems with the goal to inform the design of future interfaces. Almost all music notation editors show clear deficiencies in overall usability. Furthermore, a detailed examination of the obtained metrics show specific dependencies of individual qualities, which are helpful to conduct further qualitative research.

@inproceedings{Nowakowski_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Matthias Nowakowski and Aristotelis Hadjakos },
  Title = {Online Survey on Usability and User Experience of Music Notation Editors},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {6 - 15},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

BP Sequencer: A Low-Barrier-to-Entry Assessment Tool for Musical Creativity

Psyche Loui

Abstract Bibtex

This paper introduces a newly designed sequencer of music in the Bohlen-Pierce (BP) scale to assess creative perception and cognition. We begin with a brief overview of scientific studies on musical creativity, leading up to a gap in the field that is unaddressed by traditional studies that compare different forms of musical training and instrument-dependent output for understanding creativity. We then introduce the novel BP sequencer, an experimental interface that affords generating and rating the creativity of novel musical sequences that are uniquely composed in the Bohlen-Pierce scale. We then report three preliminary experiments in which we quantify the number of sequences generated by each individual and isolate the musical-informatic features that were rated as more creative. Participants showed a wide range of creativity in generating novel sequences. Sequences that were rated as more creative were generally longer, had more unique pitches, and had more different interval sizes. Furthermore, a preliminary electrophysiological (EEG) study quantifies three distinct candidate biomarkers for the perception of musical creativity. This novel sequencer of Bohlen-Pierce scale music can provide a useful tool for assessing creative perception and cognition. The code for this tool is freely available, along with video tutorials and documentation.

@inproceedings{Loui_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Psyche Loui },
  Title = {BP Sequencer: A Low-Barrier-to-Entry Assessment Tool for Musical Creativity},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {16 - 21},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

Notating Experiences: A New System for Visual Documentation in Instrument Design

Ciaran Frame

Abstract Bibtex

In the community of Digital Musical Instruments (DMIs), documentation surrounding iterative interactions and the creation of mappings is largely absent from DMI projects beyond the recording of a performance or subsequent evaluation with a performer. This is because the performance or interactive experience with the instrument is often viewed as the end point for a DMI project, and the description of a mapping or open-sourcing of software considered the ‘score’. This paper outlines the creation of a visual notation based on unique interactions with the AirSticks, a gestural musical instrument. These notations expand on the concept of descriptive notation, creating a form of retrospective score and record-keeping for instrument designers. By capturing the intimate experiences and musical collaborations that contribute to the iterative design of the instrument, it is concluded the notation system provides an avenue for critical analysis that will aid the further development of DMIs.

@inproceedings{Frame_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Ciaran Frame },
  Title = {Notating Experiences: A New System for Visual Documentation in Instrument Design},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {22 - 27},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

A notation system for distributed media art

Jean-Michaël Celerier, Akané Levy

Abstract Bibtex

Music, and media art in general, is often a collaborative process involving at first groups of individuals, and nowadays of computers, working together for the performance of media artworks. Interactive, intermedia scores are scoring systems which enable composers to specify temporal evolutions and variations of such multimedia systems. We will introduce a visual notation and its execution semantics for distribution of the interpretation and execution of such scores over a computer network. For instance, we will show how one can write and execute a score which specifies: part A plays on a first group of computers, followed by part B on a second group of computers, while a parallel part C containing a synchronized video effect is being played on a separate machine with dedicated video hardware. Based on the pre-existing scoring environment ossia score, we will cover how the extensions interact with the existing semantics, and present a set of small distributed scores which enables varied behaviours to be defined by the composer from our proposed set of nine temporal and three dataflow primitives for distribution.

@inproceedings{Celerier_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Jean-Michaël Celerier and Akané Levy },
  Title = {A notation system for distributed media art},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {28 - 35},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

The Magnetic Score: Somatosensory Inscriptions and Relational Design in The Instrument-Score

Nicola Privato, Thor Magnusson, Einar Torfi Einarsson

Abstract Bibtex

With the changes occurring in the dialectics between the composer and the interpreter during the second half of the twentieth century, the traditional concept of the musical score has undergone an ontological change. As composers began exploring unconventional notational practices and offering to the interpreter a higher autonomy in relating with the musical material, the locus of the musical information has become less defined, at times merging with that of the instrument. In this paper we explore the dual nature of notation both as score and as instrument from the point of view of non-visual methods of representation. We do this by presenting the Magnetic Score, a system for the inscription and generation of sound that relies on permanent magnetic fields. In magnetic scores, the relational design of the inscriptions and the interdependence of the symbolic and somatosensory layers offer original insights on the role and situatedness of the musical score in contemporary practices, as the performative gestures emerge out of the interpreter’s embodied interaction with the magnetic fields.

@inproceedings{Privato_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Nicola Privato and Thor Magnusson and Einar Torfi Einarsson },
  Title = {The Magnetic Score: Somatosensory Inscriptions and Relational Design in The Instrument-Score},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {36 - 44},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

The Reactive Score

David Kim-Boyle

Abstract Bibtex

Scores designed to be displayed on screens provide the opportunity for composers to dynamically update information and musical instructions presented to performers during the moment of performance. Such scores may be responsive to the agency of performers or audience members, providing new forms of structural organization or ways in which denoted musical material can be transformed. This paper explores the creative possibilities of such reactive scores and situates them within a historical tradition of malleable notation. Two works by the author are discussed in which real-time features of the musical performance drive the notational transformations of the performance score.

@inproceedings{Kim-Boyle_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { David Kim-Boyle },
  Title = {The Reactive Score},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {45 - 50},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

Agential Scores: Artificial Life for Emergent, Self-Organising and Entangled Music Notation

Jack Armitage, Thor Magnusson

Abstract Bibtex

Dynamic scores have become a popular intervention into musical performance, with novelty both for the performer and the audience. In this paper we describe agential scores and the implications of their emergent, self-organising and entanglement affordances for musical performance ecologies. We do so through practice-based research, introducing Tolvera, an ALife software library for agential scores. We offer a typology of interaction scenarios for agential scores, and explore a subset of these, presenting the outcomes of early artistic encounters with Tolvera between two improvising guitarists. Reflecting on our encounters, we highlight unique issues that arise out of engaging with scores as real-time agents, proposing that agential scores encourage fluidity of form in notation, which in turn provokes performers to identify with, mirror and attune to them. Though scores have always had agency, we find their rapidly increasing agency poses new questions, and new possibilities for the intra-actions between the human and non-human agents of musical ecologies.

@inproceedings{Armitage_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Jack Armitage and Thor Magnusson },
  Title = {Agential Scores: Artificial Life for Emergent, Self-Organising and Entangled Music Notation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {51 - 61},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

Enumerating Left Hand Forms for Guitar Tablatures Using Non-Decreasing Finger Numbers and Separators

Gen Hori

Abstract Bibtex

We point out that fingering decisions of string instruments and other instruments differ in that the former involves string assignments as well as finger assignments while the latter is simply a matter of assigning fingers to notes. The present study introduces a three-level model for fingering decision of string instruments to describe the structure of the problem and present problem settings of fingering decision based on the model. as well as a new idea for enumeration of left hand forms for guitar tablatures using nondecreasing finger numbers and separators.

@inproceedings{Hori_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Gen Hori },
  Title = {Enumerating Left Hand Forms for Guitar Tablatures Using Non-Decreasing Finger Numbers and Separators},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {62 - 67},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

SuperOM: A SuperCollider Class to Generate Music Scores in OpenMusic

Claudio Panariello, Emma Frid

Abstract Bibtex

This paper introduces OMClass, a class built for the software SuperCollider in order to create a bridge to OpenMusic and thus facilitate the creation of musical scores from SuperCollider patches. OMClass is primarily intended to be used as a tool for SuperCollider users who make use of assisted composition techniques and want the output of such processes to be captured through automatic notation transcription. This paper first presents an overview of existing transcription tools for SuperCollider, followed by a detailed description of OMClass and its implementation, as well as examples of how it can be used in practice. Finally, a case study in which the transcription tool was used as an assistive composition tool to generate the score of a sonification – which later was turned into a piano piece – is discussed.

@inproceedings{Panariello_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Claudio Panariello and Emma Frid },
  Title = {SuperOM: A SuperCollider Class to Generate Music Scores in OpenMusic},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {68 - 74},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

MusAssist: A Domain Specific Language for Music Notation

Ilana Shapiro

Abstract Bibtex

MusAssist is an external, declarative, domain specific language for music notation that bridges the abstraction gap between music theory and composition. Users can describe uniquely high-level templates for chords and arpeggios (all triads and seventh chords), scales (diatonic, chromatic and whole tone), the five primary cadences, and the four primary harmonic sequences with desired length. Distinctively, MusAssist matches the level of abstraction of a template to the theoretical musical structure it describes (e.g. users can specify a harmonic sequence without needing to manually expand it to the chords and notes it comprises). Thus, users can write out specifications precisely at the conceptual levels of the musical structures they would organically conceive when composing by hand. In MusAssist, users can also change key signatures, start a new measure, and describe fundamental musical objects such as notes, rests, and customized chords. The Haskell-based MusAssist compiler expands high-level templates (thus lowering the level of abstraction to individual notes) and translates the program to MusicXML, a language accepted by most major music notation software, for further manual editing and playback.

@inproceedings{Shapiro_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Ilana Shapiro },
  Title = {MusAssist: A Domain Specific Language for Music Notation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {75 - 82},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

Beyond The Basic-Space of Tonal Pitch Space: Distance in Chords and Their Interpretation

Hiroyuki Yamamoto, Satoshi Tojo

Abstract Bibtex

Tonal Pitch Space (TPS) defines a numerical distance between two chord interpretations. Although it is based on musical knowledge and theory, the structure and values are not defined in an objective manner. Preceding works have addressed this problem, and TPS has been revised and optimized the definitions of distance, in the interpretation of chord paths, given chord names. In these former works, which notions that appear in TPS work contribute to the distance has not been clarified; among which the contribution of the basic-space is rather ambiguous. In this study, we modify the task to incorporate pitch class (PC) information so that we can not only train other distance models that concern PC but also compare their performance with that of basic-space. We show that the data-oriented approach improves the accuracy from the original basic-space, especially when we add a distinction of major and minor keys.

@inproceedings{Yamamoto_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Hiroyuki Yamamoto and Satoshi Tojo },
  Title = {Beyond The Basic-Space of Tonal Pitch Space: Distance in Chords and Their Interpretation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {83 - 87},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

Harmonic Maps – Interactive Visualization Of 3-Note Chord Spaces Based on Spectral Structures

Manuel Gaulhiac, Xiao Xiao, Jean-Marc Chouvel

Abstract Bibtex

We present Harmonic Maps, a visualization of three-note chord spaces and an interactive application that allows users to explore in real-time the connection between the visualization and its mapped sounds. While typical harmonic analysis is based only on notes or on an audio signal, our analysis takes a hybrid approach by quantifying different types of interactions between the spectra of notes. These quantifications, which we call Harmonic Descriptors, are derived from acoustic or perceptual models. Three such descriptors are defined and mapped: concordance, third order concordance and roughness. Harmonic analysis based on spectral structures opens new possibilities beyond traditional note-only or signal-only approaches. They can be applied to a continuum of frequencies, independent of the tuning system, as well as historical and stylistic constraints. Harmonic Maps based on spectral structures can be especially relevant to study the relationship between timbre and harmony. Our interactive exploration of harmonic spaces can have applications for analytical, compositional and educational purposes.

@inproceedings{Gaulhiac_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Manuel Gaulhiac and Xiao Xiao and Jean-Marc Chouvel },
  Title = {Harmonic Maps – Interactive Visualization Of 3-Note Chord Spaces Based on Spectral Structures},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {88 - 97},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

Beam It Up! — A Classification Grid for Historic and Contemporary Practices Of Beaming By Mathematical Re-Modelling

Markus Lepper, Baltasar Trancón Y Widemann

Abstract Bibtex

In conventional Common Western Notation (CWN) there are different notations styles for flags and beams, evolved historically. We present a classification based on an algorithm which sets beams according to positions in a musical metric space. This algorithm contributes to more clarity also for the human discussion of the historic phenomena thanks to its stratified architecture: (a) assignment of canonical beaming to nodes of the metric tree, then (b) data transformations coming from pauses, dotted notations, etc., (c) breaking of beams according to further parameters like motifs, playing techniques, etc., and finally (d) transformations according to the needs of graphic appearance. For phases (a) and (b) an exact algorithm is presented; for (c) and (d) a semi-formal classification grid.

@inproceedings{Lepper_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Markus Lepper and Baltasar Trancón Y Widemann },
  Title = {Beam It Up! — A Classification Grid for Historic and Contemporary Practices Of Beaming By Mathematical Re-Modelling},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {98 - 113},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

Sonification, Musification and Dramafication of Astronomical Data in The Multimedia Production “A Space Journey”

Georg Hajdu, Xiao Fu

Abstract Bibtex

In this paper, we will discuss, in the context of a recent multimedia production at the Hamburg University of Music and Drama, the notions and concepts surrounding the musical treatment of astronomical data. We will make the distinction between the three categories of sonification, musification and dramafication as being a continuum in terms of how accurately the underlying data are represented, and give examples for their application in the multimedia production.

@inproceedings{Hajdu_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Georg Hajdu and Xiao Fu },
  Title = {Sonification, Musification and Dramafication of Astronomical Data in The Multimedia Production “A Space Journey”},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {114 - 122},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

Collaborative Live Composition with Frankie

Esa Onttonen

Abstract Bibtex

This paper describes a web application being developed for the purpose of collaborative live composition. In this concept, musical information such as pitch sets, chord progressions and textual parameters can be created and communicated in real-time by all members of the group. Primarily designed for tablets, the application aims for high usability values and has been tested and developed with professional jazz musicians. This paper presents the background for the concept of collaborative live composition, along with the main features, design principles and the development process of the application. Finally, the paper describes a concert performance and reflects on the affordances, opportunities, and challenges of the concept.

@inproceedings{Onttone_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Esa Onttonen },
  Title = {Collaborative Live Composition with Frankie},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {123 - 130},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

Non-Linear Volumetric Music Composition in A VR Context: Project “Omega”

Anna Shvets, Samer Darkazanli

Abstract Bibtex

Technological progress in development of XR creative spaces influences our perception of the piece of art. The use of gestural control enables interaction with the spatially distributed elements and creates conditions, where the user participates in a co-creation of a virtual experience. When applied to music art, the spatialization along with interactivity promotes non-linearity of musical structure, resulting in a new instance of music, out of the initial set of possibilities. In this article, we present a concept of a volumetric music composition, which maps music form to a 3D VR space, with a possibility of a variance at each mapping point. We implement a concept in a volumetric VR music composition “Omega”, which allows the user to choose between two alternative paths at each stage of the form development. The user’s action affects not only the changes in music, but triggers the colorization of the surrounding space, color being the reflection of the chosen musical path. Along with the music form spatialization and surroundings colorization, we integrate the paths of gestural movement, which user may choose to follow, adding visual aesthetics to the act of music creation. The synesthetic nature of the composition tightly binds music, color, 3D space and movement into one act of expression in a cocreation of a musical form. The article describes the context, philosophy and details of realisation of the concept’s practical implementation.

@inproceedings{Shvets_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Anna Shvets and Samer Darkazanli },
  Title = {Non-Linear Volumetric Music Composition in A VR Context: Project “Omega”},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {131 - 136},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

Maps As Scores: “Timbre Space” Representations in Corpus-Based Concatenative Synthesis

Jonathan Bell

Abstract Bibtex

The present study investigates ways in which the “timbre space” metaphor may be used in creative ways for instrumental composition. Numerous tools for concatenative sound synthesis share today the ability to represent in an ndimensional space large quantities of sound, thus displaying on a map data which originally unfolded in time. If the potential of such systems for creating interactive instruments is an evidence, their affordance as musical scores needs further assessment, for control over time becomes unknown territory. When porting to VR such representation of sonic data, the score becomes a 3-dimensional map (or world) in which the user typically navigates freely. Experimentation through composition, instrument design and improvisation have shown a potential of simulation of plausibly automatised acoustical instrument, using machine learning techniques to model virtual instruments out of relatively small quantities of data (e.g. 20 minutes of audio to model a clarinet). The method offers promising avenues for the exploration of instrumental fragments clustered by timbre, register, dynamic, instrumental techniques. Whether or not such maps identify as musical scores, they contribute to addressing a problem formulated by Lev Manovitch: “how to merge database and narrative into a new form”.

@inproceedings{Bell_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Jonathan Bell },
  Title = {Maps As Scores: “Timbre Space” Representations in Corpus-Based Concatenative Synthesis},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {137 - 146},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

Interpreting notated works using the Terpsichora Pressure-Sensitive Floors

Iran Sanadzadeh, Cat Hope

Abstract Bibtex

The Terpsichora Pressure-Sensitive Floors are a new digital musical instrument which uses whole-body motion to control electronic music. The instrument continues the development of early models for pioneering dancer Philippa Cullen (1972), expanding its use as an expressive and versatile musical instrument. Two works by Australian composer Cat Hope were adapted for performance with this new instrument. Delay Taints (2018), for dancer, cellist and subtone, is an animated graphic score that provided an opportunity to freely assign sonic choices to the instrument, and read notated body movement to control those choices. This adaptation contrasts with that of Majority of One (2016), for four sustaining instruments and room feedback, where two of the notated parts were interpreted on the instrument. Methods to produce continuously controlled sound using limited movements of the body were developed to replace the instruments featured in the original performances of this work. This work explores the difference in the embodied connection of gesture to sound between acoustic and electronic instruments and explores the idiosyncrasies in the navigation of time elements in music for the Floors. In addition, methods of performing with the Floors produces a new form of communicating electronic performance to audiences using full body gesture. Interpreting these two compositions by Hope using the Terpsichora Pressure-Sensitive Floors contributes new strategies for adapting animated scores for electronics using direct body movement.

@inproceedings{Sanadzadeh_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Iran Sanadzadeh and Cat Hope },
  Title = {Interpreting notated works using the Terpsichora Pressure-Sensitive Floors},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {147 - 153},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

The Digital Score: a review of research spanning 2022-23

Craig Vear, Solomiya Moroz

Abstract Bibtex

This paper presents a brief overview of DigiScore research activities in the first 18 months of the project. Digiscore is an ERC-funded project studying the technological transformation of the music score through technology. The paper is basically split into three sections each dealing with a major research theme. The first section presents design considerations for digital scores that have emerged out of the case studies, including findings from TENOR 2022, Marseilles, and others projects that incorporated technologies such as Unity gaming engines, machine learning, robotics and EEG readers. The second section focuses on two case studies looking at the impact of this research upon inclusive and accessible music-making through digital scores. Specifically Digital Syzygies – a digital score as a shared creative platform for d/Deaf and autistic musicians, and Jess+ – an AI/Robot Digital Score that operates as a creative interface between an ensemble of musicians of mixed abilities. The final section reports on the provisional insights from a digital musicianship investigation that seeks new knowledge in the skills, perceptions, contexts, cultures, awareness and knowledges of digital musicians engaging with digital scores.

@inproceedings{Vear_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Craig Vear and Solomiya Moroz },
  Title = {The Digital Score: a review of research spanning 2022-23},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {154 - 160},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

Judging A Score by Its Cover: The Role of Visual Design in Interpreting Colour Scores

Frankie Dyson Reilly

Abstract Bibtex

Music notation is typically viewed to be an interface for the transfer of musical information, with a performer’s individual interpretation of a score determining the aural outcome. Performers rely on learned symbols and context clues to interpret a score, supplemented by semantic information inferred by the style and font of the score. When scores contain novel graphic elements that have no standardised framework for interpretation, such as colour and shape, the semantic information contained in the visual presentation of the graphics becomes integral in influencing a player’s unique interpretation. Though marketing and graphic design literature demonstrate the clear importance of visual design in mediating the relationship between viewer and media, examination of this phenomena remains remarkably absent from score analysis. In this paper, I use colour as the primary lens through which to explore the role of visual design in mediating a performer’s response to a score. I present three original and visually distinct compositions as case studies, each uniquely demonstrating the role of colour and peripheral extra-musical content as mediators of interpretation. I centre verbal and written responses from performers to explore how the interaction of and with these visual characteristics shapes performer responses to the score and resulting music.

@inproceedings{Reilly_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Frankie Dyson Reilly },
  Title = {Judging A Score by Its Cover: The Role of Visual Design in Interpreting Colour Scores},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {161 - 170},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

Sheng Yijing: Book of Sound Changes

Kenneth Fields

Abstract Bibtex

This project maps the Yijing (YJ) symbolic space to its spectromorphological (SM) counterpart, with the goal of further substantiating the ontological terrain and primary categories of sonic states and transformations. Spectromorphology emerged out of an empirical/phenomenological method as bound to sonic material, while later being shaped by categorical, symbolic, and historical considerations. The Yijing arose from a much more historical and abstract description of the states and processes of change itself, independent of material or contextual application – determining its object or context at the time of reading or consultation. In this paper, we touch on a very few of the general concepts that orientate the study.

@inproceedings{Fields_tenor2023,
  Address = {Boston, Massachusetts, USA},
  Author = { Kenneth Fields },
  Title = {Sheng Yijing: Book of Sound Changes},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2023},
  Pages = {171 - 175},
  Year = {2023},
  Editor = {Anthony Paul De Ritis and Victor Zappi and Jeremy Van Buskirk and John Mallia},
  Publisher = {Northeastern University},
  ISBN = {978-0-6481592-7-8}
}

2022

FULL TENOR'22 PROCEEDINGS

Bibtex | .bib

@book{tenor2022,
  Address = {Hamburg, Germany},
  Title = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'22},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}}

Mutable Gestures: A New Animated Notation System for Conductor and Chamber Ensemble

Ciaran Frame, Alon Ilsar, Sam Trolland

Abstract Bibtex

This paper outlines the creation of a new real-time scoring work, Mutable Gestures, for any combination of chamber instruments with a conductor. The work translates a conductor’s gestures into real-time animated notation, relayed to performers over a wireless network to generate musical material for improvisation. Drawing on recent real-time notation works, Mutable Gestures proposes a new form of gestural notation creation through the use of the AirStick, a new gestural musical instrument. The creation of this work contributes to the growing field of real-time animated notation, a field that reinterprets the traditional roles of score, conductor, composer and performer.

@inproceedings{Frame_tenor2022,
  Address = {Marseille, France},
  Author = { Ciaran Frame and Alon Ilsar and Sam Trolland },
  Title = {Mutable Gestures: A New Animated Notation System for Conductor and Chamber Ensemble},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {1-7},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

Music Notation Using Reactive Synchronous Programming

Bertrand Petit

Abstract Bibtex

This article presents a notation system for music based on patterns (or clips) as they have been popularized for more than twenty years with the Digital Audio Workstations on the market like Ableton Live, Bitwig Studio or FL Studio. This system named Skini uses the HipHop.js programming language to describe music pieces. This language, belonging to the family of synchronous reactive languages, was initially designed for the orchestration of Web services. Skini, by combining HipHop.js and queuing mechanisms, was developed for interactive and generative music performances. It has also proven to be an efficient tool for notating musical pieces outside of these interactive and generative contexts because of its ability to describe the structure of a piece of music in a form close to its expression in eve- ryday language. Moreover, Skini, while using certain con- cepts specific to electronic music, can be used for the cre- ation and performance of instrumental and orchestral music.

@inproceedings{Petit_tenor2022,
  Address = {Marseille, France},
  Author = { Bertrand Petit },
  Title = {Music Notation Using Reactive Synchronous Programming},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {8-14},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

The Twittering Machine

David Kim-Boyle

Abstract Bibtex

This paper describes the development of The Twittering Machine (2021) for HoloLens 2 and prepared piano, which features a three-dimensional (3D) performance score holographically projected on the surface of the piano keyboard. The score presents a real-time visualization of Twitter tweets scraped during the performance and generated through the application of various Natural Language Processing (NLP) techniques. Various technical aspects of the work are discussed including the NLP processes, network architecture facilitating communication with the HoloLens 2, and techniques through which the holographic score is accurately mapped to the surface of the piano keyboard. The paper describes the work’s aesthetic focus and details how mapping process from language to musical notation provides structural form.

@inproceedings{Kim-Boyle_a_tenor2022,
  Address = {Marseille, France},
  Author = { David Kim-Boyle },
  Title = {The Twittering Machine},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {15-21},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

Holistic Perspectives: A Report on Scoring Beyond Eurological Traditions

Terri Hron

Abstract Bibtex

In 2021, the TENOR Network supported a consultation with artists to investigate scoring practice beyond Eurological traditions towards a publication of edited interviews. This paper presents results from the initial round of interviews with a report on the emergent connections that brought out a relational ontology and a holistic perspective of scores. Starting with a critique of the composer-centered work concept, the author presents how consulted artists reflect on roles implied by scores, temporal considerations and definitions of scoring technology, and how these can be expanded with a holistic perspective. Orality, ancestral knowledge, witnessing practice and collective creativity are recurrent themes. The last section offers a number of ways to consider scores that might open the TENOR community to practitioners outside its current purview. Interviewed artists are quoted at length in anticipation of the publication of edited interviews.

@inproceedings{Hron_tenor2022,
  Address = {Marseille, France},
  Author = { Terri Hron },
  Title = {Holistic Perspectives: A Report on Scoring Beyond Eurological Traditions},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {22-29},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

96 Postcards in Real Color

David Kim-Boyle

Abstract Bibtex

This paper describes the development of 96 Postcards in Real Color (2022), a virtual reality (VR) work for up to eight singers which features a three-dimensional immersive score generated from image captions scraped from Instagram. The poetic inspiration is briefly presented and various technical elements of the work’s design, development, and implementation are discussed including how the Selenium and Beautiful Soup Python libraries were used to scrape and parse images and text from Instagram, and how the multiplayer framework of the work is supported with the Photon Unity Networking SDK. Various user experience (UX) considerations influencing the work’s design are discussed, together with a discussion of future research directions.

@inproceedings{Kim-Boyle_b_tenor2022,
  Address = {Marseille, France},
  Author = { David Kim-Boyle },
  Title = {96 Postcards in Real Color},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {30-36},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

Linear: A Multi-Device Augmented Reality Environment for Interactive Notation and Music Improvisation

Giovanni Santini

Abstract Bibtex

LINEAR (Live-generated Interface and Notation Environment in Augmented Reality) is an environment for the generation of real-time 3D interactive graphic notation. The environment is suitable for ensemble improvisative performances featuring acoustic instruments, live-electronics and two Augmented Reality (AR) performers. One AR performer uses an iPhone for drawing virtual trajectories in the space, rendered as a sequence of Virtual Objects (VOs) aligned along the trajectory. VOs trigger samples upon virtual collisions with the iPhone. They are also used as a form of graphic notation for instrumentalists/vocalists: the screen of the iPhone is mirrored to a projector. The second AR performer uses a headset and can use VR controllers to design trajectories used for the spatialization of each audio source in a 3D audio setup. The headset AR performer can use virtual spheres (one per instrument) to control the posi- tion of each sound source (one per instrument). The sound of every acoustic instrument is processed live. The mixing of processing effects are controlled by a laptop player. The system has been repeatedly tested during a two-semesters long workshop. The system was also used for two online concerts. Beyond demonstrating the technical and musical viability of LINEAR, the workshop also gave the chance to record student’s response to the system. Although the sample size is quite small (four students completed the survey), the answers show encouraging results in terms of engagement and interest. Future work should be conducted to further enhance the user experience and more clearly assess LINEAR’s usability and effectiveness as an innovative system for improvisation and musical performance.

@inproceedings{Santini_tenor2022,
  Address = {Marseille, France},
  Author = { Giovanni Santini },
  Title = {Linear: A Multi-Device Augmented Reality Environment for Interactive Notation and Music Improvisation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {37-43},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

Musicking Deep Reinforcement Learning

Hugo Scurto

Abstract Bibtex

In this paper, I relate an auto-reflexive analysis of my practice of designing and musicking deep reinforcement learning. Based on technical description of the Co-Explorer, a deep reinforcement learning agent designed to support sonic exploration through positive or negative human feedback, I discuss how deep reinforcement learning can be seen as a form of sonic comprovisational agent, which enables musicians to compose a parameter sound space, then to engage in embodied improvisation by guiding the agent through sound space using feedback. I then relate on my own musicking experiments led with the Co-Explorer, which resulted to the creation of the ægo music performance, and build on these to sketch a music representation for deep reinforcement learning, highlighting its original aesthetics, as well as its ontological shifts between performer and agent, and epistemological tensions with engineering-oriented representations. Rather than discrediting the latters, my wish is to create space for practice-based approaches to machine learning in a way that is complementary to engineering-oriented approaches, while contributing to further music representations and discourses on artificial intelligence.

@inproceedings{Scurto_tenor2022,
  Address = {Marseille, France},
  Author = { Hugo Scurto },
  Title = {Musicking Deep Reinforcement Learning},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {44-50},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

Making Graphical Scores More Accessible: A Case Study

Christina Karpodini, Tychonas Michailidis

Abstract Bibtex

This paper explores new ways of making graphical scores more accessible for visually impaired users. Existing assistive technologies demonstrate a gap in providing accessible tools for composing and performing contemporary music with non-traditional western notation. The two case studies presented, Blocks Sound and Logothetis Sound examine the interactive relationships and affordances through tactile interaction and how this interaction can influence their experience and understanding of both graphic scores and interactive composition of users. We present the process and limitations and propose the use of haptic technology and tangible experience for making contemporary graphic scores more accessible and inclusive.

@inproceedings{Karpodini_tenor2022,
  Address = {Marseille, France},
  Author = { Christina Karpodini and Tychonas Michailidis },
  Title = {Making Graphical Scores More Accessible: A Case Study},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {51-56},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

Notation for Organ Extended Techniques

Cláudio de Pina

Abstract Bibtex

The notation of extended techniques on the organ do not have a clear standard. Composers use their own notation or guiding rules to express their sonic expansion on the instrument. Since 1960, the most prolific period on organ experimentation, Ligeti, Kagel and Cage were the first to become known for using non-standard notation on the organ. From this collection of works, the ones from Ligeti are paramount. From the graphical score of Volumina, the long clusters of Harmonies to the fast torrent of notes of Coulée. Kagel develops further with other notations for clusters and graphical gestures in Phantasie für Orgel. Finally, with Cage we find a simpler way of notating long notes and stop changes. Kurt Stone has a chapter on his book, Music Notation in the Twentieth Century, regarding notation on the organ, but it not describes half-drawn re- gisters, half-depressed keys and does not present anything regarding motor or other air manipulations. A clearer notation and explanation is needed for these extended techniques. In an instrument so tied to a functionality, it is pertinent nowadays to re-incorporate these techniques in the contemporary organ repertoire. A new simple notation is presented, alternative to graphical notation or lengthy performance notes. This will create an easy un- derstandable approach.

@inproceedings{DePina_tenor2022,
  Address = {Marseille, France},
  Author = { Cláudio de Pina },
  Title = {Notation for Organ Extended Techniques},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {57-61},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

Conditional Semantic Music Generation in a Context of VR Project “Graphs in Harmony Learning”

Anna Shvets, Samer Darkazanli

Abstract Bibtex

The article proposes a perspective on the use of generative artificial models in a context of the VR project “Graphs in harmony learning”. The usage of LSTM, ConvLSTM and conditional GAN with convolutional 1D layers for semantic music generation is discussed. The efficiency of the novel data encoding scheme, along with the design patterns based on the system of graphs, are shown.

@inproceedings{Shvets_tenor2022,
  Address = {Marseille, France},
  Author = { Anna Shvets and Samer Darkazanli },
  Title = {Conditional Semantic Music Generation in a Context of VR Project “Graphs in Harmony Learning”},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {62-69},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

Rethinking the Notation Design Space

Benjamin Bacon

Abstract Bibtex

Previous work has demonstrated how the analysis and creation of musical notation can be seen within the context of information visualisation. In this case, graphical and musical features are broken down into primary categories which can then be linked to one another, allowing for the visualisation of notation mapping schemes. The space for mapping these elements is known as the Notation Design Space (NDS). While the NDS has the potential to be a powerful tool for analysing and creating new notations, the current model does not provide adequate support for notations which depict the actions of the performer. This paper proposes changes to the current NDS to include the mapping of sound-producing and -facilitating gestures, followed by a theoretical analysis of the similarities between notation and digital musical instrument mapping. The inclusion of musical gesture within the NDS serves a dual purpose; it allows for a more nuanced reading of prescriptive-based notation focusing more on the actions of the performer, while also aligning the development of new notations with interaction design processes.

@inproceedings{Bacon_tenor2022,
  Address = {Marseille, France},
  Author = { Benjamin Bacon },
  Title = {Rethinking the Notation Design Space},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {70-77},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

Idiosyncratic Ways of Preserving Performing Arts Creation in an (Digital) Archive

Filipa Magalhães

Abstract Bibtex

Most collections conceived in artistic domains, whether in dance, music or theatre, as they are performances and involve heterogeneous sources such as text, image, audio-video recordings, music, scenarios, gesture, movement, among others, are difficult to describe or document in archival contexts (e.g., music theatre). Archiving these works challenges musicologists, as it requires an in-depth knowledge of their collaborative practices, in addition to a study considering an archaeological musicology, being necessary to gather the pieces of the puzzle, since the different elements/materials of the works are dispersed by various sources. Post-custodial forms of archive present some solutions, however it would be important to seek for a common core language and combine archival standards in order to allow the interoperability of information to understand these works from a holistic perspective. In this paper, I seek to broaden discussions about the issues around preserving creations in the field of performing arts in the (digital) archive, giving specific examples in different artistic spheres.

@inproceedings{Magalhaes_tenor2022,
  Address = {Marseille, France},
  Author = { Filipa Magalhães },
  Title = {Idiosyncratic Ways of Preserving Performing Arts Creation in an (Digital) Archive},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {78-84},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

Sangeettex: A Latex Engine for Transcribing and Rendering Indic Music

Chandan Misra

Abstract Bibtex

Notation system is the building block of a particular genre of music which aids in reading, composing, and performing music in a structured manner. Though computers are being used for annotating musical scores in Staff notation, it has not been used for Indic music to a substantial extent. Available systems and archives either employ romanization or uses image formats for representing scores which makes it less usable in terms of recreating scores as part of other documents, retrieving musical information out of the format etc. Creating music-sheets for Indic Music in computer is a inconvenient process involving placing music symbols in its proper place according to the underlying grammar and drawing the same similar to published musical texts. Document preparation tools like Latex is suitable choice for this task making it easier for developers to print quality music-sheets. In this paper, we present Sangeet-TEX, a Latex based music rendering engine for Rabindra Sangeet (Tagore Songs in English), a distinguished genre of Indic music and a collection of more than 2200 songs composed and written by Bengali poet and Nobel Laureate Rabindranath Tagore. It allows users to create beautiful music sheets while preserving the published typesetting in its original published form and provides easy exchange of musical information in text format. Sangeet-TEX is available at https://github.com/cmisra/ SangeetTeX.

@inproceedings{Misra_tenor2022,
  Address = {Marseille, France},
  Author = { Chandan Misra },
  Title = {Sangeettex: A Latex Engine for Transcribing and Rendering Indic Music},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {85-91},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

Symbolist Re-Imagined: Bidirectional Graphic-Semantic Mapping for Media Notation Authoring and Performance

Rama Gottfried

Abstract Bibtex

SYMBOLIST is an in-development application for experimental notation, which aims to provide an un-opinionated authoring environment for the design and performance of symbolic notation. By following an information visualization rather than prescribed musical orientation, the ap plication is thought of as an open play-space, with tools for experimentation and thinking visually about relationships between representation and interpretation in media performance. In the paper we begin with an overview of the project’s background, iterations and relationship to the DRAWSOCKET project, and introduce a redesign of the system, centered on a new framework for custom symbol definitions for bidirectional mapping and user interaction. In conclusion we discuss future development directions and evaluation of the project.

@inproceedings{Gottfried_tenor2022,
  Address = {Marseille, France},
  Author = { Rama Gottfried },
  Title = {Symbolist Re-Imagined: Bidirectional Graphic-Semantic Mapping for Media Notation Authoring and Performance},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {92-101},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

Textural Composition in 3D Environment Through Swarm Algorithm

Wander Vieira Rodrigues, Walber de Macedo Rodrigues

Abstract Bibtex

The presented project uses algorithms based on bird flock behavior to generate sound masses in a 3D environment through "Cave" and sound spatialization in 8.1 Surround. The behavior of animal groups in agglomeration makes us lose the individual's perception in isolation to force us into the whole. Part of this process is identical to listening and composing sound masses in the textural music 20th and 21st centuries. Thus, we want to apply the swarm behavior algorithm to generate sound masses in real time, allowing contemplation, creation of musical material, and interaction through digital immersion.

@inproceedings{Vieira-Rodrigues_tenor2022,
  Address = {Marseille, France},
  Author = { Wander Vieira Rodrigues and Walber de Macedo Rodrigues },
  Title = {Textural Composition in 3D Environment Through Swarm Algorithm},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {102-107},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

A Few Thoughts on Polymorphism in Digital Scores

Georg Hajdu, Konstanina Orlandatou, James Tsz Him Cheung

Abstract Bibtex

This paper is motivated by the phenomenon of polymorphism in graphic notation, a notion introduced to the discourse of graphical composition by Greek composer Anestis Logothetis. It refers to the reading of a graphic score in which alternative paths can be taken by a performer. The reading can either be synthetic/global or analytical/local with intermediary levels. We are contrasting Logothetis’ concept of polymorphism with analogous phenomena in molecular biology and look at the paradigm shift leveraged by digital technologies where machine and hybrid readings ought to be taken into consideration. Examples of current practices are given for live, extended reality and hybrid scenarios. The paper finishes with an outlook on how AI might eventually become another game changer.

@inproceedings{Hajdu_tenor2022,
  Address = {Marseille, France},
  Author = { Georg Hajdu and Konstanina Orlandatou and James Tsz Him Cheung },
  Title = {A Few Thoughts on Polymorphism in Digital Scores},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {108-114},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

A Model of Rhythm Transcription as Path Selection Through Approximate Common Divisor Graphs

Gonzalo Romero-García, Corentin Guichaoua, Elaine Chew

Abstract Bibtex

We apply the concept of approximated common divisors (ACDs) to estimate the tempo and quantize the durations of a rhythmic sequence. The ACD models the duration of the tatum within the sequence, giving its rate in beats per minute. The rhythm input, a series of timestamps, is first split into overlapping frames. Then, we compute the possible ACDs that fit this frame and build a graph with the candidate ACDs as nodes. By building this graph, we transform the quantization problem into one of path selection, where the nodes represent the ACDs and determine the note values of the transcription and the edges represent tempo transitions between frames. A path through the graph thus corresponds to a rhythm transcription. For path selection, we present both an automated method using weights for evaluating the transcription and finding the shortest path, and an interactive approach that gives users the possibility of influencing the path selection.

@inproceedings{Romero-Garcia_tenor2022,
  Address = {Marseille, France},
  Author = { Gonzalo Romero-García and Corentin Guichaoua and Elaine Chew },
  Title = {A Model of Rhythm Transcription as Path Selection Through Approximate Common Divisor Graphs},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {115-123},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

Notation, Transmission and Comprovisation: A Case Study of The Onceim Improvisation Orchestra

Diemo Schwarz, Clément Canonne

Abstract Bibtex

ONCEIM is a collective free improvisation ensemble consisting of 30 musicians. Beyond free improvisation, the orchestra also performs new comprovisation works, commissioned from a variety of composers such as Eliane Radigue, Stephen O’Malley, John Tilbury, or Jean-Luc Guionnet. In this paper, we present a case study based on the 23 pieces commissioned by ONCEIM over a period of ten years, from 2012 to 2022. We first give an account of the different approaches encountered, illustrated by some examples of pieces. We then show how ONCEIM’s musicians use re-notation strategies in the process of rehearsing such comprovisation pieces. Finally, we reflect on the role and use of electronics, as imagined by the composers with whom ONCEIM has collaborated, within a mostly acoustic setting.

@inproceedings{Schwarz_tenor2022,
  Address = {Marseille, France},
  Author = { Diemo Schwarz and Clément Canonne },
  Title = {Notation, Transmission and Comprovisation: A Case Study of The Onceim Improvisation Orchestra},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {124-134},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

OSSIA Score 3

Jean-Michaël Celerier, Myriam Desainte-Catherine, Pia Baltazar

Abstract Bibtex

The ossia system has been introduced in 2015 as a notation for interactive scores. We present the result of seven years of usage and improvements to the ossia score software which acts as both an editor and player for such scores, and how it morphed from a simple OSC-only control sequencer to a fully-fledged multimedia system supporting live audio and video processing, live-coding with multiple embedded programming languages, communication with a variety of software and hardware and adaptations for more traditional music creation such as support for varying tempo and time signatures. In particular, we mention a few “original sins” and implementation mistakes done at the beginning of the software engineering process and how they had to be fixed.

@inproceedings{Celerier_tenor2022,
  Address = {Marseille, France},
  Author = { Jean-Michaël Celerier and Myriam Desainte-Catherine and Pia Baltazar },
  Title = {OSSIA Score 3},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {135-142},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

The Decibel Scoreplayer – Learning From And For Usability

Aaron Wyatt, Cat Hope

Abstract Bibtex

This paper outlines new developments in the Decibel Score-Player application for iPad, the functionality of the associated .dsz score file, and the evolution of the Decibel Score Creator desktop application that have been driven by recent user experience. This includes the introduction of an annotation layer, so that users may ‘write’ directly on to the score via the iPad screen; new methods for transferring scores to the iPad application, including the prototyping of a score server using QR code functionality; the ability to have different audio parts within a single score file and the expansion of the Decibel Score Creator’s capabilities. Each of these developments has been primarily driven by user feedback, and to a lesser extent the evolution of various operating system compatibilities. The changes have enabled the Decibel ScorePlayer to remain relevant, easy to use and a valuable tool for reading animated, graphic notation.

@inproceedings{Wyatt_tenor2022,
  Address = {Marseille, France},
  Author = { Aaron Wyatt and Cat Hope },
  Title = {The Decibel Scoreplayer – Learning From And For Usability},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {143-148},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

On Notational Spaces in Interactive Music

Vincent-Raphaël Carinola, Jean Geoffroy

Abstract Bibtex

This article presents a reflection on the nature of notational spaces in interactive musical works using digital devices. It builds on the author’s experiences in Toucher (2009) for theremin and computer and Virtual Rhizome (2018) for Smart Hand Computers. In interactive music, notational spaces are correlated to the spatial structure of the dispositif, a notion that must be understood in the sense of an extension of the traditional instrument. That’s why composing a work is equivalent, at least in part, to composing the instrument. The notational spaces — in other words: the places making possible a writing, and thus a musical interpretation — are distributed among the different components of the dispositif. The way in which its digital devices are interconnected (the mapping), the algorithmic logic of the “if-then-else” and the notion of openness play a fundamental role for the composer and the performer. However, in the case of miniaturized (or embedded, or embodied) dispositifs, this spatial structuring of its components seems to be absent and, consequently, questions the existence of a place for composition and interpretation. One of the solutions explored here is to conceive the work as a virtual architecture that recalls a “world” in the field of video games. This architecture, open to a plurality of courses, then assumes the function of a notational space by calling, paradoxically, on techniques of memory specific to orality.

@inproceedings{Carinola_tenor2022,
  Address = {Marseille, France},
  Author = { Vincent-Raphaël Carinola and Jean Geoffroy },
  Title = {On Notational Spaces in Interactive Music},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {149-154},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

Integrating Machine Learning with DSP Frameworks for Transcription & Synthesis in Computer-Aided Composition

Brandon Lincoln Snyder, Marlon Schumacher

Abstract Bibtex

In this paper we present applications integrating two classic machine learning methods into a Computer-aided Composition environment with the specific purpose of notating, organizing and synthesizing audio from large sets of sound data. We present a modular sample replacement engine driven by a classification method, and a texture synthesis application employing a clustering method. The applications are designed and presented with a particular focus on modularity and extensibility, with the goal of providing flexible options for integration into existing OpenMusic projects. Therefore, in addition to presenting the metholodgy behind our applications, we also highlight the modular aspects of their structure along with several functions for performing transient detection, Mel-frequency cepstrum analysis, and probability vector calculation.

@inproceedings{Snyder_tenor2022,
  Address = {Marseille, France},
  Author = { Brandon Lincoln Snyder and Marlon Schumacher },
  Title = {Integrating Machine Learning with DSP Frameworks for Transcription & Synthesis in Computer-Aided Composition},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'2022},
  Pages = {155-163},
  Year = {2022},
  Editor = {Vincent Tiffon and Jonathan Bell and Charles de Paiva Santana},
  Publisher = {PRISM Laboratory},
  ISBN = {979-10-97498-03-0}
}

2021

FULL TENOR'20/21 PROCEEDINGS

Bibtex | .bib

@book{tenor2020-21,
  Address = {Hamburg, Germany},
  Title = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Year = {2021},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}}

Ratioscore: A Text-Based System for Just Intonation

Julie Zhu and Craig Stuart Sapp

Abstract Bibtex

Ratioscore is a text-based musical score representation system that expresses pitches as integer ratios, making it particularly useful for working with just intonation. We also provide open-source software to compile Ratioscores into Standard MIDI files as well as a website front-end that renders these MIDI files into MP3 files for online listen- ing and downloading. Up to 15 voices/instruments can sound simultaneously with independent tuning control as well as independent glissandi in each voice within one octave of their starting pitch. Ratioscores are encoded using the Humdrum data format, which allows for basic data manipulation and transformation of the score, such as repeating segments of music, selecting between multiple timelines or sharing dynamics between different voices. We illustrate the use of Ratioscore as a prototyping system for composing a string quartet as a proof of concept. Ratioscore is particularly suited for algorithmic composition, both within and outside the traditional Western notation framework.

@inproceedings{Zhu_tenor2021,
  Address = {Hamburg, Germany},
  Author = { Julie Zhu and Craig Stuart Sapp },
  Title = {Ratioscore: A Text-Based System for Just Intonation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {205-211},
  Year = {2021},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Using Music Features for Managing Revisions and Variants in Music Notation Software

Paul Grünbacher, Rudolf Hanl, and Lukas Linsbauer

Abstract Bibtex

Music engravers need to manage both revisions and variants of digital music artifacts created with music notation software. However, existing version control systems such as Git fail to manage fine-grained revisions and variants in a uniform manner. This paper presents an approach that uses music features and applies a variation control system in the domain of music notation. In particular, we extended the variation control system ECCO to support the evolution of digital music artifacts encoded in LilyPond. We illustrate music features using a running example. We present basic feature-oriented workflows and discuss the architecture and implementation of our LilyECCO tool. We further present a preliminary evaluation based on an existing LilyPond music artifact.

@inproceedings{Grunbacher_tenor2021,
  Address = {Hamburg, Germany},
  Author = { Paul Grünbacher and Rudolf Hanl and and Lukas Linsbauer },
  Title = {Using Music Features for Managing Revisions and Variants in Music Notation Software},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {212-220},
  Year = {2021},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

A Web-Based Environment Embedding Signal Processing in Musical Scores

Dominique Fober, Yann Orlarey, Stéphane Letz, and Romain Michon

Abstract Bibtex

We present an online environment for the design of musical scores, also allowing for the embedding of signal processors and hence the publication of electronic works. This environment is part of the INScore project. Its latest version has been transcribed to WebAssembly/Javascript to provide in a web browser the same features as in its native counterpart: the diversity of music representations supported by INScore, the interaction capabilities and all the dynamic aspects of the score. After some historical elements about distributed musical scores, we will provide some reminders about the INScore project and its associated description language. We will then describe the architecture of the system and the choices made for its portability to the Web. Then, we will present the extensions specific to the Javascript version and in particular the support of signal processing objects. Finally, we will show how INScore’s communication system has been extended to allow online musical score control from a native version of INScore, paving the way for real-time performance on the web.

@inproceedings{Fober_tenor2021,
  Address = {Hamburg, Germany},
  Author = { Dominique Fober and Yann Orlarey and Stéphane Letz and and Romain Michon },
  Title = {A Web-Based Environment Embedding Signal Processing in Musical Scores},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {221-226},
  Year = {2021},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Indra: A Virtual Score Platform for Networked Musical Performance

Drake Andersen

Abstract Bibtex

This paper introduces Indra, a Max-based virtual score platform for networked musical performance. Indra allows a conductor to improvise with an ensemble over a local area network by determining the notation that appears on performers’ screens in real time. Musical compositions for the Indra platform consist of short encoded or image-based notation clips that are tagged with customizable metadata corresponding to musical qualities. The conductor uses the metadata to filter clips, determining the general qualities of the musical texture while the software cycles through clips that meet the filter criteria. Indra is designed to be accessible and adaptable for musicians working in diverse styles and numerous performance contexts.

@inproceedings{Andersen_tenor2021,
  Address = {Hamburg, Germany},
  Author = { Drake Andersen },
  Title = {Indra: A Virtual Score Platform for Networked Musical Performance},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {227-234},
  Year = {2021},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Score Objects in OM#

Jean Bresson

Abstract Bibtex

This paper is an overview of the new score objects and editors available in the OM# visual programming and computer-assisted composition environment.

@inproceedings{Bresson_tenor2021,
  Address = {Hamburg, Germany},
  Author = { Jean Bresson },
  Title = {Score Objects in OM#},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {235-239},
  Year = {2021},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Multi-Scale Oracle and Automated Representation of Formal Diagrams Based on the Cognitive Algorithm

Joséphine Calandra, Jean-Marc Chouvel, and Myriam Desainte-Catherine

Abstract Bibtex

This article deals with the automatic representation of formal diagrams, which corresponds to a paradigmatic analysis of the musical work which is being listened to. These diagrams represent musical materials as a function of time and are initially obtained from the audio signal, applying a Cognitive Algorithm. In this article, we focus on the second step of the algorithm, as such we assume that the first step, analyzing and labeling the audio signal, has been done. Thus, we propose to analyze predefined materials given as a string. Then we develop the automatic creation of all the formal diagrams of higher levels that result from it. The structuration of the sequences of materials of the lower level constructs the formal diagrams of higher levels. The structured characters which are gathered then represent a higher-level material. Therefore, we present the Multi-scale Oracle: a data structure that stores and connects the different levels and materials. Thus, a character string given as input of the system produces a superposition of formal diagrams as a function of various structuring parameters. As the hierarchical formal diagrams offer a new representation of music, we suggest the musicologists could use these diagrams for analysis.

@inproceedings{Calandra_tenor2021,
  Address = {Hamburg, Germany},
  Author = { Joséphine Calandra and Jean-Marc Chouvel and and Myriam Desainte-Catherine },
  Title = {Multi-Scale Oracle and Automated Representation of Formal Diagrams Based on the Cognitive Algorithm},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {240-250},
  Year = {2021},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Distributed Notation in the Browser, an Overview

Jonathan Bell

Abstract Bibtex

This paper endeavours to discuss a few available technologies for musical notation, from a user’s point of view, focusing on “distributed notation”: musical notation rendered in real time to multiple devices simultaneously. The rapid evolution of browsers and the cheaper cost of heterogeneous (cross-platform) systems inclines us to narrow down the scope to browser-based solutions. The overview recalls a few key concepts of the JavaScript ecosystem, typically addressed to composers with little background in web development. The survey then compares three frameworks: INScore (INScoreWeb), DRAWSOCKET, and SmartVox, focusing on their respective approach to software architecture/implementation, as well as their “higher” user level. After highlighting the convergence points between INScore and DRAWSOCKET - but also their own specificity, such as INScore’s time model, or DRAWSOCKET’s API, the paper concludes with a case study: the Tenor 21 choral concert.

@inproceedings{Bell_tenor2021,
  Address = {Hamburg, Germany},
  Author = { Jonathan Bell },
  Title = {Distributed Notation in the Browser, an Overview},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {251-259},
  Year = {2021},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Automatic for the People: Crowd-driven Generative Scores Using Machine Vision and Manhattan

Chris Nash

Abstract Bibtex

This paper details a workshop and optional public installation based on the development of situational scores that combine music notation, AI, and code to create dynamic interactive art driven by the realtime movements of objects and people in a live scene, such as crowds on a public concourse. The approach presented here uses machine vision to process a video feed from a scene, from which detected objects and people are input to the Manhattan digital music notation, which integrates music editing and programming practices to support the creation of sophisticated musical scores that combine static, algorithmic, or reactive musical parts.

@inproceedings{Nash_tenor2021,
  Address = {Hamburg, Germany},
  Author = { Chris Nash },
  Title = {Automatic for the People: Crowd-driven Generative Scores Using Machine Vision and Manhattan},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {260-264},
  Year = {2021},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Autoconductor: Synchronizing Graphic Scores, Multi-Channel sound and Video Files

Lothar Felten and Christian Klinkenberg

Abstract Bibtex

In this paper, a networked score display system which synchronizes graphical notation, precise pitch notation and video with multi-channel audio is presented. The software was purpose built for the project The Glacier - Opera 2.0 composed by Christian Klinkenberg.

@inproceedings{Felten_tenor2021,
  Address = {Hamburg, Germany},
  Author = { Lothar Felten and Christian Klinkenberg },
  Title = {Autoconductor: Synchronizing Graphic Scores, Multi-Channel sound and Video Files},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {265-269},
  Year = {2021},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

2020

FULL TENOR'20/21 PROCEEDINGS

Bibtex | .bib

@book{tenor2020-21,
  Address = {Hamburg, Germany},
  Title = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}}

Crowded Staves — Rules for Semantic and Style of Conventional Multiple-Voices-Per-Staff Musical Notation

Markus Lepper, Michael Oehler, Hartmuth Kinzler, Baltasar Trancón

Abstract Bibtex

In many variants of Common Western Notation (CWN) more than two voices can be notated together in one staff. Reading this kind of multi-voice notation implies complicated parsing decisions, taken by the trained musician’s brain in most cases non-knowingly. This article makes them explicit, supposing a theoretical maximum of information retrieval and formal consistency.

@inproceedings{Lepper_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Markus Lepper and Michael Oehler and Hartmuth Kinzler and Baltasar Trancón },
  Title = {Crowded Staves — Rules for Semantic and Style of Conventional Multiple-Voices-Per-Staff Musical Notation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {1-12},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

NEXUS: Live Notation as a Hybrid Composition and Performance Tool

Sam Hayden, Mieko Kanno

Abstract Bibtex

The NEXUS live notation system, the latest product of the Hayden-Kanno collaboration, contrasts with their previous projects which utilised live DSP and synthesis. NEXUS is first discussed in the contexts of a comparison of Kanno’s experience of performing solo violin works involving the live generation of music in both the audio and symbolic domains, and the affordances of Common Practice Notation for generative music. As with previous Hayden-Kanno projects, the main goal is the creation of a musical work which is fluid and spontaneous, both in its global form and specifics of detail, yet maintains a sonic consistency and coherence, but now in the symbolic domain. The implications of performer reading and interpretation for system design are explored. The second half of the paper outlines the main functions of the Max patch, how GMN code is generated for rendering as CPN in INScore during the performance, and, of the performer GUI which constrains the stochastic processes underlying the generation of specific musical parameters, general textual characteristics, and global formal shaping. The challenge was to formalize Hayden’s compositional procedures so the generated notations retain a musical identity and interest, whilst leaving space for Kanno’s interpretative decisions and being technically simple enough to be sightreadable. The uses of the system for hybrid performance and compositional applications are discussed, and some directions for future development.

@inproceedings{Hayden_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Sam Hayden and Mieko Kanno },
  Title = {NEXUS: Live Notation as a Hybrid Composition and Performance Tool},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {13-23},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Representation of Harmonies on the Harmonic Wheel

Luis Nuño

Abstract Bibtex

The Tonnetz is a useful tool for representing musical excerpts or full pieces containing mainly major and minor triads. However, when a musical composition contains dissonant triads or higher-order chords, it can only give a limited representation of it. The Harmonic Wheel is a physical tool that combines a Tonnetz transformed into a polar grid with a plastic disc containing the lines that define the major, harmonic and melodic minor scales, together with the scale degrees and the symbols of the corresponding seventh chords. This way, it allows to represent a large variety of musical works, including both triads and seventh chords, as well as to find the chords that are common to different keys. To show its main characteristics and advantages, several examples are given from different musical styles. In all cases, the representations obtained are simple and compact, and therefore easy to memorize, which makes the Harmonic Wheel a powerful and versatile tool for analyzing and composing music, as well as providing an efficient mnemonic notation.

@inproceedings{Nuno_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Luis Nuño },
  Title = {Representation of Harmonies on the Harmonic Wheel},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {24-32},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Resurfacing Mechanics and Action in Music Notation: The Musicwriter

Mauricio Rodriguez

Abstract Bibtex

This text discusses the compositional use of the Musicwriter, a music notation device used after old engraving practices such as lithographic notation and metal printing blocks for music printing, but discontinued before modern digital notation. After a short description of this singular device, the author presents his ongoing composition/engraving project: ‘Meaning The Score’, a series of tyscores (or typed scores) performed using the Musicwriter; the notation of this series is conceived as an emergent property of the performative interaction with the Musicwriter, notation that is later reinterpreted by musicians that react to both, the live-typeset notation and the composer’s performance that created the score in the first place.

@inproceedings{Rodriguez_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Mauricio Rodriguez },
  Title = {Resurfacing Mechanics and Action in Music Notation: The Musicwriter},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {33-36},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Notation of Gesture and Modelling : The process of composition of Mots de jeu

Jean-François Trubert, Alireza Farhang.

Abstract Bibtex

This paper aims to present the process of composition of a piece in which the musical material integrates syntactic and semantic dimensions of a poetic language. Modeling the semantics of speech gestures through graphical notation and using formant synthesis to generate the electronic sounds are also the subjects that will be explained in order to give an outline about the way poetry and prosody contribute to the microstructure and macrostructure of a vocal piece.

@inproceedings{Trubert_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Jean-François Trubert and Alireza Farhang. },
  Title = {Notation of Gesture and Modelling : The process of composition of Mots de jeu},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {37-48},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

A Scheme for Music Interaction Design and Notation Based on Dynamic Sociometry

Stefano Kalonaris

Abstract Bibtex

A framework for musical interaction design and notation based on social network analysis is proposed. To this end, the affiliation network model, which comprises actors and events, is employed. Maintaining a sufficiently flexible definition of event can cater for both music improvisers and composers alike. If the (number of) events, their time occurrence and their action space (what happens in a given event) can be subjectively defined, then the concept of authorship and the continuum between improvisation and composition can be arbitrarily explored. The theoretical axioms of the affiliation network, along with methods for analysing its dynamics are presented. Furthermore, it is suggested that such analysis can provide a suitable strategy for notating emergent and/or composed musical interactions and, retrospectively, for designing some anew. Finally, a general scheme is illustrated, along with some speculative blends for its practical implementation.

@inproceedings{Kalonaris_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Stefano Kalonaris },
  Title = {A Scheme for Music Interaction Design and Notation Based on Dynamic Sociometry},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {49-55},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Jam Tabs: A Color Based Notation System for Novice Improvisation

Torin Hopkins and Ellen Do

Abstract Bibtex

Music improvisation, which is defined as creatively and playfully exchanging musical concepts, is often associated with expert musicianship and musical skill. While there are numerous methods for live scoring improvisation, there are not many resources aimed at assisting novice performance during improvisational activities. Jam Tabs is a notation system that helps coordinate idiomatic musical expression for novice musicians using color-coded instruments and a colored visual display. Jam Tabs utilizes a seven-color notation system, LED cubes and a colored piano keyboard to assist novices in coordinating chord progressions—a common musical element used among improvising musicians in popular western music contexts. We have observed that novice piano players could follow chord progressions in tonal music note for note using color coordination while improvising. We found that seven colors in any key provide enough information for players to experience a satisfactorily expressive and creative jam session.

@inproceedings{Hopkins_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Torin Hopkins and Ellen Do },
  Title = {Jam Tabs: A Color Based Notation System for Novice Improvisation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {56-62},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Strategies and Suggestions for Singing in Foreign Languages Based on Phonetic Musical Notation

Korbinian Slavik, Markus Jochim, Verena Klasen

Abstract Bibtex

There are different approaches to a good pronunciation when singing in foreign languages. One promising example is the use of the International Phonetic Alphabet (IPA). Transcribing lyrics with this alphabet has a tradition of several decades, but it can be very time-consuming when done manually, especially if you want to store IPA information directly within a score. We investigated, for what musicians the use of IPA is useful and what they normally do when singing in foreign languages. In a questionnaire with more than 450 participants from 19 different countries we asked singers and conductors about their strategies when singing in a foreign language and whether they thought it was useful to have IPA inside a score. We identified a variety of strategies which are used for singing in foreign languages like listening to recordings or to experts of the target language. Additionally, 60-70 % of all participants and 90 % of opera singers think that a phonetic alphabet could be helpful in a score. Test subjects were also asked to name the languages they wanted as transcriptions in the notes, where Russian was second to none. As a consequence of these results, we are working on an automated approach for writing IPA information directly in MusicXML data, thus combining IPA transcription with the original score.

@inproceedings{Slavik_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Korbinian Slavik and Markus Jochim and Verena Klasen },
  Title = {Strategies and Suggestions for Singing in Foreign Languages Based on Phonetic Musical Notation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {63-67},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Using Gesture Data to Generate Real-Time Graphic Notation: a Case Study

Gil Dori

Abstract Bibtex

The paper describes the concepts and compositional process of my recent real-time graphic score work Arcos, for cello and augmented violin bow. The work's graphic notation is generated directly from gesture data of various bowing techniques. A Myo armband was used to record cello bowing data, and the augmented bow's own position tracking module was used to record its motion data. After processing the data, gestures were visualized on the screen, as a form of real-time graphic notation based on imitation. This notational approach—a low-level symbolic representation of gestures—allows for an immediate, intuitive interpretation on the spot, and provides an instantaneous connection between notation and action. My work also offers a distinct perspective on notation for electronic instruments in the context of real-time action-based scores.

@inproceedings{Dori_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Gil Dori },
  Title = {Using Gesture Data to Generate Real-Time Graphic Notation: a Case Study},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {68-74},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Filtering and Synthesis: IT-Based Approach in the Compositive Process of Giovanni Verrando and Fausto Romitelli

Luca Befera, Luca Guidrini

Abstract Bibtex

To investigate the influences that information technology has brought to musical writing and compositional process, the cases of Giovanni Verrando and Fausto Romitelli – Italian post-spectral composers of the 1960s generation – will be examined. After their studies at IRCAM in Paris, they integrated tools of digital sound treatment and musical form management into their notation, opportunely mediated by software and informatics tools. Two fundamental aspects of their language will be investigated: the cyclical organization of the form, and timbral generation techniques as filtering for Verrando and synthesis for Romitelli. It will be demonstrated how the principles indicated, deriving from specific methods of digital treatment of sound, are applied to the creation of complex timbres reproduced by the orchestra or by the ensemble. In both cases, the results are a writing process, compositional way of thinking and sound outcome hybrid between acoustic and electronic, determining a formal management mediated by sound data and according to a prominently IT-based approach.

@inproceedings{Befera_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Luca Befera and Luca Guidrini },
  Title = {Filtering and Synthesis: IT-Based Approach in the Compositive Process of Giovanni Verrando and Fausto Romitelli},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {75-83},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Action scores and gesture-based notation in Augmented Reality

Giovanni Santini

Abstract Bibtex

Augmented Reality (AR) is becoming, year by year, an established and well-known technological resource. Experimentations and innovative applications are produced in different areas. In music, there already is some use of such a technology in the fields of education and performance. However, the use of AR features as compositional resources has yet to be deeply explored and leaves room for innovative research. In particular, the possibility of notating the gesture in space, instead of on paper or screen, has been only superficially studied. This research focuses on the development of a new prescriptive notation system for gestures that represents extended techniques requiring direct contact between the performer and the vibrating body. Such a system has been implemented in the composition Portale, for small tam-tam, AR environment and live-electronics.

@inproceedings{Santini_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Giovanni Santini },
  Title = {Action scores and gesture-based notation in Augmented Reality},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {84-90},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Symbolising Space: From Notation to Movement Interaction

Katerina El Raheb, Marina Stergiou, Akrivi Katifori, Yannis Ioannidis

Abstract Bibtex

The last decades the development of whole-body interaction technologies, as well as XR (Extended Reality) technologies, including Augmented, Mixed and Virtual Reality, created a strong potential for embodied and immersive experiences to support learning and the use of notation while moving. In our ongoing work, we explore this potential on the user case of familiarizing dance experts and amateurs with movement notation in general and Labanotation in particular. By applying methodologies of usercentered design, including co-design workshops with notation and dance experts, interviews, focus-groups, questionnaires supporting the iterative design of our prototype, we focus on how we can meaningfully transfer the concepts related to space from notation to full body interaction instructions. So far we have developed two prototypes following two paradigms: a. the augmented mirror paradigm using Kinect and b. the immersive paradigm using HTCVive, that we have used as technology probes to interact with dance experts in the context of our co-design work. We reflect on this experimentation and we document the emerging challenges of transferring a symbolic language that is meant to be transmitted through paper, into spatial semantic queues. We discuss the challenges that arise between the gaps of symbolically referring to space, within a rich conceptual framework, such as Laban Movement Analysis (LMA), experiencing space kinaesthetically, and transferring these into a digital experience, always within the limitations of the current technologies.

@inproceedings{El_Raheb_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Katerina El Raheb and Marina Stergiou and Akrivi Katifori and Yannis Ioannidis },
  Title = {Symbolising Space: From Notation to Movement Interaction},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {91-99},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Aiding the Performance of Tempo Canon: New Technology in Studies 1, 2 and 3 for String Quartet

James Opstad

Abstract Bibtex

This paper discusses the application of new score-reading technologies in a set of string quartet studies written for Apartment House. I highlight how the use of technology facilitates complex polytemporal relationships within the ensemble and allows these to be conveyed in a simpler and more direct manner. I demonstrate the current state of the score application and draw attention to design features that differ from existing approaches as well as changes that have been made in response to performer feedback. This follows a brief discussion of tempo canon in both my own work and its broader historical context.

@inproceedings{Opstad_tenor2020,
  Address = {Hamburg, Germany},
  Author = { James Opstad },
  Title = {Aiding the Performance of Tempo Canon: New Technology in Studies 1, 2 and 3 for String Quartet},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {100-105},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

The notation of sound for composition and transcription: An adaptation of Lasse Thoresen's spectromorphological analysis

Mattias Sköld

Abstract Bibtex

This paper details my adaptation of Lasse Thoresen’s spectromorphological analysis notation for the sake of composition and transcription, re-imagining the analysis symbols for use over a spectrum staff system over which pitch and spectra can be indicated with great detail, and possibly interpreted by musicians and computers for performance. A sound object is notated with regard to its spectral width, density, centroid frequency, significant sound components, modulation and amplitude envelope. It can also have a spectrum reference. The symbols are placed over a spectrum grand-staff with a frequency scale to show each parameter both from a frequency and pitch perspective. Also included are suggestions for the visual representation of spatialisation where positions and movements are displayed in two or three dimensions above the sound notation while constant rotations are notated as modulations.

@inproceedings{Skold_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Mattias Sköld },
  Title = {The notation of sound for composition and transcription: An adaptation of Lasse Thoresen's spectromorphological analysis},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {106-113},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Geometric Notation for Time-Bracket works, application and performance The case of John Cage’s Music for___

Mikhail Malt, Benny Sluchin

Abstract Bibtex

The interpreter who approaches the music of John Cage composed after the middle of the 20th century is often disconcerted by a great freedom of execution, associated with a set of precise instructions. In previous work [8] we modeled these time brackets (TB) by parallelograms to build computer interfaces for interpretation assistance in the context of Cage’s Two5. Over time ([9], [10], [11], [13]), we realized that the shape used to represent TB, brought important information for the interpretation and musical analysis. In this paper we apply previous research to a computer display conception of John Cage’s Music for___ (1984-87).

@inproceedings{Malt_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Mikhail Malt and Benny Sluchin },
  Title = {Geometric Notation for Time-Bracket works, application and performance The case of John Cage’s Music for___},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {114-119},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Performing the Practice of Composition

Alison Isadora

Abstract Bibtex

In this paper I discuss challenges towards our understanding of the role and ontology of the score, in relationship to the roles of composer, performer, audience and performance space. I consider the role of these actants within three situated aspects of the Western art music tradition as proposed by Coessens and colleagues: the ecological, epistemic and social. What emerges from this deliberation, is the reification of the score as the ‘work’, the expectation of a ‘genius’ (male) composer, hierarchic and stultifying conditions for both musicians and audience members, and performance spaces that encourage these stratifications. Modes of engagement are explored that might foster alternative roles for all actants and the notions of sympoiesis, and the anarchive are presented as potentially useful conceptual tools when imagining an alternative ontology of the score. Moreover, developing on Isabelle Stengers’ ideas on an ecology and interdependence of practices I speculate on the ramifications of considering the score as having a ‘challenging and fostering’ role in relationship to the other parties. The paper finishes with a discussion of Together#5.1 in which methods for encouraging a social technology of belonging and shared compositional response-ability between all actants are explored. These methods include collective listening practices, audience scores, adaptive notations and context specific elements.

@inproceedings{Isadora_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Alison Isadora },
  Title = {Performing the Practice of Composition},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {120-124},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Notational Strategies for Integrating Live Performers with Complex Sounds and Environments

Lindsay Vickery

Abstract Bibtex

This paper describes strategies for integrating live performers with complex “extra-musical” sounds and environments through extended traditional and proportional notations. The subjects of the works discussed include Animals (wardang [2019], kurui [2018]) and environments (rising water [2018], willsons downfall [2018], njookenbooro [2018]) . The techniques include spectrographic transcription, audio processing, extended forms of notation and spatial audio.

@inproceedings{Vickery_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Lindsay Vickery },
  Title = {Notational Strategies for Integrating Live Performers with Complex Sounds and Environments},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {125-132},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Networked Comprovisation Stratagies with ZScore

Slavko Zagorac, Michael Zbyszynski

Abstract Bibtex

ZScore is a networked notation system for mixed ensemble composition and performance. This paper describes recent system developments towards a platform for comprovised music making. The long-term project objective is to provide an inclusive, democratised music-making environment by utilising technology that enables distributed decision making, dynamic notation processing and visualisation. It is proposed that all music is the outcome of a decision-making process that can be represented on the spectrum between immutable static and real-time dynamic decision making. Networking technology can act as an enabler for moving the dial on this decision-making spectrum in a required direction. Furthermore, a definition of a networked notational perspective is outlined, covering the dynamic aspects of distributed notation for heterogeneous clients. Several strategies for dealing with dynamic notation visualisation and control are presented, such as the dynamic performance parameter processing and embedded scripting. Finally, this paper presents the results from recent user trials and plans for future developments.

@inproceedings{Zagorac_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Slavko Zagorac and Michael Zbyszynski },
  Title = {Networked Comprovisation Stratagies with ZScore},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {133-140},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Interactive timeshaping of musical scores

Daniele Ghisi, Andrea Agostini, Eric Maestri

Abstract Bibtex

In this article we aim to organize the collection of practices that amount to modifying the temporality of a musical score in order to create a new one, by representing them as a combination of three basic families of operations: dilations, distortions and repetitions. The initial score can be borrowed or designed on purpose, and can be of any complexity (an entire score, a single note, or anything in between). We call the complex of these practices ‘timeshaping’. We describe the analytical space derived from the proposed organization and show how many of its processes can be implemented in an interactive computer-aided composition environment using the bach and cage libraries for Max.

@inproceedings{Ghisi_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Daniele Ghisi and Andrea Agostini and Eric Maestri },
  Title = {Interactive timeshaping of musical scores},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {141-148},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

The Minimum Cut Pitch Spelling Algorithm

Benjamin Wetherfield

Abstract Bibtex

This paper describes and refines the Minimum Cut Pitch Spelling Algorithm, designed for flexible use in modern software and contemporary music settings. In the process of composing notated music, a decision must be made by the composer as to which enharmonic spelling should be assigned to each represented pitch. Spelling assignments in close proximity on the page are interrelated, with each choice exerting a pull on the surrounding choices. Hence, the complexity of the problem can proliferate, especially where tonal centers are contextually ambiguous or even non-existent. The minimum cut approach herein presents a model for spelling pitches efficiently based on their intervallic relationships. Building on the previous presentation of the model (in the author’s bachelor’s thesis), simplifications and extensions of both the workings of the algorithm and its exposition are given. Among the simplified components of the presentation are the system of encoding applied to pitch spellings, the approach taken to avoid double-accidentals, and a decoupling of the full complexity of the model from its simplest pitch relationships. A new practical inverting (or ‘learning’) process for generating algorithm parameters from collections of spelled pitches (based on the Edmonds-Karp Maximum Flow algorithm) is also introduced.

@inproceedings{Wetherfield_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Benjamin Wetherfield },
  Title = {The Minimum Cut Pitch Spelling Algorithm},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {149-157},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Super Colliders: A Gamified Screen-Score

Takuto Fukuda

Abstract Bibtex

This paper introduces Super Colliders (2018), a piece written for three pitched instruments and a computer. This piece applies gamification to the screen-score as a compositional approach to achieve playful human-computer interactions. The piece features a game design that encompasses various game mechanics and elements. The paper describes the technical details of the game’s design, the role and effects of the featured game elements from the perspective of motivational affordances. Finally, through the analysis of a performance of the piece, the paper reveals how motivational affordances in the screen-score supported to generate the musical structure through the playful performer-computer interactions.

@inproceedings{Fukuda_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Takuto Fukuda },
  Title = {Super Colliders: A Gamified Screen-Score},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {158-168},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Conducting Animated Notation: Is It Necessary?

Aaron Wyatt, Cat Hope

Abstract Bibtex

At the 2019 Perth Festival, Western Australia’s largest and most nationally significant arts event, a new animated notation opera by Cat Hope was premiered. This sixty minute staged work for thirty piece orchestra, thirty voice community choir and four vocal soloists ran over six nights and was led by musical director Aaron Wyatt. The score was delivered over 26 networked iPads in the orchestra within the Decibel ScorePlayer application [1], controlled by the musical director, and both the choir and vocal soloists memorised the graphic score. In addition to directing the preparations for the performance, Wyatt conducted the orchestra and singers from the podium each night. This paper discusses the role of the conductor in this performance, and examines the role of the conductor in works performed from animated notations more broadly. A questionnaire was sent to the orchestral members who participated in the performances of ‘Speechless’ asking a series of questions about the impact and role of the conductor in the work, and their responses inform the body of this paper. Overall, the responses indicate that although the score presentation for the work on the networked iPads was very exacting, the role of the conductor was essential for extracting musicianship and nuance in each performance.

@inproceedings{Wyatt_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Aaron Wyatt and Cat Hope },
  Title = {Conducting Animated Notation: Is It Necessary?},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {169-174},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Optical Music Recognition: State of the Art and Major Challenges

Elona Shatri, György Fazekas

Abstract Bibtex

Optical Music Recognition (OMR) is concerned with transcribing sheet music into a machine-readable format. The transcribed copy should allow musicians to compose, play and edit music by taking a picture of a music sheet. Complete transcription of sheet music would also enable more efficient archival. OMR facilitates examining sheet music statistically or searching for patterns of notations, thus helping use cases in digital musicology too. Recently, there has been a shift in OMR from using conventional computer vision techniques towards a deep learning approach. In this paper, we review relevant works in OMR, including fundamental methods and significant outcomes, and highlight different stages of the OMR pipeline. These stages often lack standard input and output representation and standardised evaluation. Therefore, comparing different approaches and evaluating the impact of different processing methods can become rather complex. This paper provides recommendations for future work, addressing some of the highlighted issues and represents a position in furthering this important field of research.

@inproceedings{Shatri_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Elona Shatri and György Fazekas },
  Title = {Optical Music Recognition: State of the Art and Major Challenges},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {175-184},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Extending Notation Through Embodied Research

Solomiya Moroz

Abstract Bibtex

Through engagement with embodied research, I challenge the use of notation as part of the ‘paradigm of reproduction’ [1] in which notation plays a central role in the musical work concept. In my work, I propose new collaborative methods which place an accent on performers’ response and embodied memory, thus I anchor the idea of a work with collaborators of my projects in addition to any other methods of mediation such as a notated score. In this paper, I would like to discuss two of my latest works, On Fragments and Motion Studies, which rely on performers’ embodied memory in order to execute the works.

@inproceedings{Moroz_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Solomiya Moroz },
  Title = {Extending Notation Through Embodied Research},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {185-188},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Ergodic and Emergent Qualities of Real-Time Scores. Anna & Marie and Gamified Audiovisual Compositions

Andreas Pirchner

Abstract Bibtex

This paper describes the functionality and aesthetic implications of the real-time score-system developed for the composition Anna & Marie by Marko Ciciliani. It originates from the artistic research project GAPPP and was first performed at Donaueschinger Musiktage 2019. By referring to examples of historic tendencies towards non-linear scores, the terms ergodicity and emergence are introduced to the understanding of the score properties of the real-time virtual performance space. This first part is then exemplified by describing the ergodic score of Anna & Marie. A particularity of this work is that two violinists navigate avatars in two virtual 3D environments by their manner of playing. The environment offers distinct audiovisual situations distributed in the virtual space and is identified as a spatial score. The musicians’ musical effort of spatially traversing the virtual performance space consequently allows the audiovisual gestalt of the performance to emerge. The entanglement of spatial score and symbolic score, generated and presented on tablets, and mediated by the performers, is shown to be a characteristic of the composition. It is investigated, how the emerging performances question a notion of ergodicity where a prior text is followed by a technology reproducing it. In conclusion, the group of categories of real-time scores is extended by ergodic emergent scores.

@inproceedings{Pirchner_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Andreas Pirchner },
  Title = {Ergodic and Emergent Qualities of Real-Time Scores. Anna & Marie and Gamified Audiovisual Compositions},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = {189-197},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

Common Ground, Music and Movement Directed by a Raspberry Pi

Jonathan Bell, Aaron Wyatt

Abstract Bibtex

This paper describes Common Ground, a piece for six dancing singers and electronics, in which the coordination between performers is ensured by a RaspberryPi-embedded node.js web application. The singers received synchronised scores in the browser of their phone, which they wore in head-mounted display in order to free their hands and enhance their scenic presence. After a description of the artistic project, the elaboration of the score is examined under the categories of movement notation (how trajectories are embedded in musical notation), spectral composition (microtonal tuning between synthesised sounds and human voices), algorithmic processes (how the recent bell coding language facilitates processes for which Max patching is ill-suited). The article finally describes the Raspberry implementation, outlining potential ameliorations of the current system, including dns support and unnecessary dependance on a dedicated router.

@inproceedings{Bell_tenor2020,
  Address = {Hamburg, Germany},
  Author = { Jonathan Bell and Aaron Wyatt },
  Title = {Common Ground, Music and Movement Directed by a Raspberry Pi},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'20/21},
  Pages = { 198-204},
  Year = {2020},
  Editor = {Rama Gottfried and Georg Hajdu and Jacob Sello and Alessandro Anatrini and John MacCallum},
  Publisher = {Hamburg University for Music and Theater},
  ISBN = {978-3-00-066930-9}
}

2019

FULL TENOR'19 PROCEEDINGS

Bibtex | .bib

@book{tenor2019,
  Address = {Melbourne, Australia},
  Title = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'19},
  Year = {2019},
  Editor = {Cat Hope and Lindsay Vickery and Nat Grant},
  Publisher = {Monash University},
  ISBN = {978-0-6481592-5-4}}

Animated Notation, Score Distribution and AR-VR Environments for Spectral Mimetic Transfer in Music Composition

Jonathan Bell and Benedict Carey

Abstract Bibtex

This paper seeks to make a case for a compositional ideal (the mimetic transfer of a recorded or synthesized sound to the instrumental/vocal domain) which today’s technologies for animated/distributed musical notation have made more realistic than when it first appeared as a general aesthetic (with composers such as Tristan Murail and Gérard Grisey, or, in the realm of computer music, as with the practice of Jean-Claude Risset), simultaneously with the birth of the digital era in the 1970s. The concept of mimesis is here examined both as a (post) spectral compositional technique and as a common feature of many forms of musical score/representation. These theoretical considerations are then exemplified by musical examples and software demonstrations extract from the “In memoriam Jean-Claude Risset” cycle of compositions, scored for ensembles of various sizes (small chamber music group with players wearing head-mounted displays, choir and electronics, large instrumental groups with choir, and for the performance of an opera), all performed with the help of the SmartVox Score distribution system.

@inproceedings{Bell_tenor2019,
  Address = {Melbourne, Australia},
  Author = { Jonathan Bell and Benedict Carey },
  Title = {Animated Notation, Score Distribution and AR-VR Environments for Spectral Mimetic Transfer in Music Composition},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'19},
  Pages = {7--14},
  Year = {2019},
  Editor = {Cat Hope and Lindsay Vickery and Nat Grant},
  Publisher = {Monash University},
  ISBN = {978-0-6481592-5-4}
}

Live Structures

Linda Bouchard and Joseph Browne

Abstract Bibtex

Live Structures is a research and composition project that explores different ways to interpret data into graphic notation and compositions. The Live Structures project started in October 2017, supported by an Explore and Create Grant from the Canada Council for the Arts received by Bouchard. One of the goals of the Live Structures project is to interpret data from the analysis of complex sounds into a visual musical notation. The tool, developed in collaboration with Joseph Browne of matralab at Concordia University, is called Ocular ScoresTM. So far, three iterations of the Ocular Scores Tool have been created, each performing multiple functions: a) the ability to draw an image from the analysis of complex sounds that can be used as gestural elements to compose new works or to compare a complex sound against another complex sound, b) the ability to draw full transcriptions of a performance for future interpretation, and c) the ability to draw images in real time and to manipulate those images to create interactive projected scores to be performed live by multiple performers.

@inproceedings{Bouchard_tenor2019,
  Address = {Melbourne, Australia},
  Author = { Linda Bouchard and Joseph Browne },
  Title = {Live Structures},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'19},
  Pages = {26--32},
  Year = {2019},
  Editor = {Cat Hope and Lindsay Vickery and Nat Grant},
  Publisher = {Monash University},
  ISBN = {978-0-6481592-5-4}
}

The Monthly Acid Pattern – An Accessible Notation System for Acid House collaboration

Dylan Davis

Abstract Bibtex

Scholars continue to investigate how communities are built by sharing histories, norms and values within the ‘third spaces’ enabled by social media technologies. How can these third spaces be harnessed to explore collaborative and experimental compositional practices, and, in turn, what can practising music as a ‘shareable’ culture reveal about community building as it shifts to digital platforms. The Monthly Acid Pattern Group used the compositional schematic of the Acid Pattern and a particular analogue synthesizer, the Roland TB-303, as the basis for the sustained production of interpretative works using online collaborative and publishing platforms over a four-year period. This project contributed to further understanding of how the practices and cultures of music composition are shared and can build community. With the use of an emerging online platform (SoundCloud), the research project made an innovative contribution to methodologies of documenting, and enabling, the interpretative practices of an online community as it emerged. The works that were created demonstrated new possibilities for accessible modes of notation, instrumentality and compositions within digital music cultures.

@inproceedings{Davis_tenor2019,
  Address = {Melbourne, Australia},
  Author = { Dylan Davis },
  Title = {The Monthly Acid Pattern – An Accessible Notation System for Acid House collaboration},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'19},
  Pages = {69--73},
  Year = {2019},
  Editor = {Cat Hope and Lindsay Vickery and Nat Grant},
  Publisher = {Monash University},
  ISBN = {978-0-6481592-5-4}
}

Drawsocket: A Browser Based System for Networked Score Display”

Rama Gottfried and Georg Hajdu

Abstract Bibtex

We present DRAWSOCKET, a new platform for generating synchronized, browser-based displays across an array of networked devices developed at the Hochschule für Musik und Theater, Hamburg. Conceived as a system for distributed notation display with applications in music and spatial performance contexts, DRAWSOCKET provides a unified interface for controlling diverse media features of web browsers which can be utilized in many ways. By providing access to browser mouse and multitouch gesture data, and the ability to dynamically create user-defined callback methods, the DRAWSOCKET system aims to provide a flexible tool for creating graphical user interfaces. Included is a discussion of the architecture design and development process, followed by an overview of the features, and syntax considerations for the DRAWSOCKET API.

@inproceedings{Gottfried_tenor2019,
  Address = {Melbourne, Australia},
  Author = { Rama Gottfried and Georg Hajdu },
  Title = {Drawsocket: A Browser Based System for Networked Score Display”},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'19},
  Pages = {15--25},
  Year = {2019},
  Editor = {Cat Hope and Lindsay Vickery and Nat Grant},
  Publisher = {Monash University},
  ISBN = {978-0-6481592-5-4}
}

Networked Music Performance in the Old Elbe Tunnel

Georg Hajdu and Rama Gottfried

Abstract Bibtex

In this paper we present a new distributed score display system currently under development at the Hochschule für Musik und Theater, Hamburg (HfMT). The project was initiated as part of a large scale live performance in the St. Pauli Elbe Tunnel (sometimes also referred to as Old Elbe Tunnel), for 144 musicians spread out over the 864 meters of its two tubes. We describe here the background of this project and the current status of the technological and musical considerations required to achieve this event.

@inproceedings{Hajdu_tenor2019,
  Address = {Melbourne, Australia},
  Author = { Georg Hajdu and Rama Gottfried },
  Title = {Networked Music Performance in the Old Elbe Tunnel},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'19},
  Pages = {55--60},
  Year = {2019},
  Editor = {Cat Hope and Lindsay Vickery and Nat Grant},
  Publisher = {Monash University},
  ISBN = {978-0-6481592-5-4}
}

Performing the Compositional Act with Bouncy Castles, Soap and Shh

Andy Ingamells

Abstract Bibtex

My practice-based research has led to a rethinking of the relationships between composer, performer and listener in my own creative work through an interpretation of a diagram by experimental composer George Brecht. Through the reconfiguration of this diagram I have developed a framework in which the act of composition can be performed via the activities of ‘reading’, ‘performance’ and ‘playing’, with the focus on an expanded notion of traditional score-reading that makes the act of reading manifest onstage as part of the physical theatricality of musical performance. This approach can be used as a site for further experimentation by other interdisciplinary creative practitioners.

@inproceedings{Ingamells_tenor2019,
  Address = {Melbourne, Australia},
  Author = { Andy Ingamells },
  Title = {Performing the Compositional Act with Bouncy Castles, Soap and Shh},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'19},
  Pages = {74--79},
  Year = {2019},
  Editor = {Cat Hope and Lindsay Vickery and Nat Grant},
  Publisher = {Monash University},
  ISBN = {978-0-6481592-5-4}
}

Immersive Scores on the HoloLens

David Kim-Boyle and Benedict Carey

Abstract Bibtex

The authors describe work undertaken in porting the 3D, Max generated score for David Kim-Boyle’s 5x3x3 (2018) to the Microsoft HoloLens. The constraints of various network protocols for communicating between Max and the Unity 3D platform, with which HoloLens applications are built, are discussed and the deployment process from Unity to the HoloLens is described. Various optimization considerations are outlined, and the paper concludes with a discussion of feedback from performers and a brief appraisal of some of the unique aesthetic affordances of the HoloLens platform.

@inproceedings{Kim-Boyle_tenor2019,
  Address = {Melbourne, Australia},
  Author = { David Kim-Boyle and Benedict Carey },
  Title = {Immersive Scores on the HoloLens},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'19},
  Pages = {1--6},
  Year = {2019},
  Editor = {Cat Hope and Lindsay Vickery and Nat Grant},
  Publisher = {Monash University},
  ISBN = {978-0-6481592-5-4}
}

Palace 64: Impossible Virtual Roller Coasters as Musical Scores

Luke Nickel

Abstract Bibtex

In Palace64, a major new multidisciplinary project combining video and chamber ensemble, I examine the ways in which the domains of music composition and virtual roller coaster design might influence one another. First, I briefly discuss existing artistic projects relating to roller coaster design. Second, I present my own early artistic explorations combining music and virtual roller coasters. Finally, I discuss Palace64. In this project, I create a new medium of score that combines oral transmissions describing imaginary impossible roller coasters with videos created using innovative 3D roller coaster design software (NoLimits 2). Using strategies pioneered by Éliane Radigue and Jennifer Walshe for interpreting imagined images and paths as musical material, I develop ways in which performers can “read” these impossible roller coasters—remembered and virtual—as scores. Ultimately through this project my goal is to create and demonstrate a hybrid artwork that exists not only as a score to facilitate the performance of experimental music, but also as a conceptual theme park ride that traverses the boundaries of possibility and impossibility in a region that marries the digital with an embodied human experience of risk and pleasure. This paper is intended as an accompaniment to the performance of Palace64 by Decibel New Music Ensemble.

@inproceedings{Nickel_tenor2019,
  Address = {Melbourne, Australia},
  Author = { Luke Nickel },
  Title = {Palace 64: Impossible Virtual Roller Coasters as Musical Scores},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'19},
  Pages = {80--84},
  Year = {2019},
  Editor = {Cat Hope and Lindsay Vickery and Nat Grant},
  Publisher = {Monash University},
  ISBN = {978-0-6481592-5-4}
}

Sound as Score

Elisabeth Schimana

Abstract Bibtex

As a composer and musician of electronic music since the 1980s my medium is sound. When I was asked in 2009 to compose a piece for RSO (Radio-Symphonieorchester) Vienna I had to think about how to communicate with this sound body. I opted for what I do best - sound and listening. Since that year I have developed two different methods of communication with musicians - the live generated audio score, where the performers have to imitate the live generated electronic sounds they hear through a loudspeaker, and the audio score based on acoustic memory, where the musicians are given a set of sound samples for interpretation on their instruments and then in the performance this interpretation has to be played from memory. This paper examines the method, scoring, practice and rehearsal, as well as the artistic results using examples from The Virus series and the music theater piece Pricked and Away.

@inproceedings{Schimana_tenor2019,
  Address = {Melbourne, Australia},
  Author = { Elisabeth Schimana },
  Title = {Sound as Score},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'19},
  Pages = {33--37},
  Year = {2019},
  Editor = {Cat Hope and Lindsay Vickery and Nat Grant},
  Publisher = {Monash University},
  ISBN = {978-0-6481592-5-4}
}

Recent Audio Scores: Affordances and Limitations

Charlie Sdraulig and Chris Lortie

Abstract Bibtex

A growing body of contemporary composers produces audio scores where sound is the integral mediator between the composer and performer. While many musical scores deploy some form of symbolic visual representation of sound or movement, audio scores represent information and instructions in the same domain as the performed product. This paper aims to survey the affordances and limitations of audio scores enacted thus far. Within the field, we identify two primary sub-categories associated with the temporal relations between performer and audio score: reactive and rehearsed. Louis d’Heudieres’ Laughter Studies 1-3 (2015-16) and Lara Stanic’s Open Air Bach (2005, rev. 2013) are examples of reactive audio scores. Representative examples of rehearsed audio scores include Carola Bauckholt’s Zugvögel (2011-12) and Cassandra Miller’s Guide (2013). These primary sub-categories may be combined and hybridized to varying degrees, as in Carolyn Chen’s Adagio (2009). Finally, in light of our survey of the possibilities offered by audio scores, we propose some further avenues of exploration for creative practice.

@inproceedings{Sdraulig_tenor2019,
  Address = {Melbourne, Australia},
  Author = { Charlie Sdraulig and Chris Lortie },
  Title = {Recent Audio Scores: Affordances and Limitations},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'19},
  Pages = {38--45},
  Year = {2019},
  Editor = {Cat Hope and Lindsay Vickery and Nat Grant},
  Publisher = {Monash University},
  ISBN = {978-0-6481592-5-4}
}

Towards Responsive Scoring Techniques for Networked Music Performances

Rebekah Wilson

Abstract Bibtex

The latent and unstable nature of networked performances, where the delayed transmission and uncertain, unstable, and compressed reception of transferred information demands scoring conceptualizations that consider the loss of the presence information traditionally expected by musicians when performing together in a shared space and time. The focus of this study is to develop electronic network- aware responsive scoring techniques that consider the primary constraints of networked music performances: i.e., latency, uncertainty, multilocated, and digital. Using machine-learning techniques to investigate and enhance digitally mediated presence technology, scoring possibilities are discussed that promote the experience of performing together while being remote from each other—connected via a public network and subject to latency. This study also looks at compositional and technical approaches to creating responsive scores for networked music performances using analysis of transferred sound as a means to generate and control metadata and symbolic notation.

@inproceedings{Wilson_tenor2019,
  Address = {Melbourne, Australia},
  Author = { Rebekah Wilson },
  Title = {Towards Responsive Scoring Techniques for Networked Music Performances},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'19},
  Pages = {46--54},
  Year = {2019},
  Editor = {Cat Hope and Lindsay Vickery and Nat Grant},
  Publisher = {Monash University},
  ISBN = {978-0-6481592-5-4}
}

Unlocking the Decibel ScorePlayer

Aaron Wyatt, Lindsay Vickery and Stuart James

Abstract Bibtex

This paper discusses recent developments in the Decibel ScorePlayer project, including the introduction of a canvas scoring mode, python ScorePlayer externals, and enhancements to the ScoreCreator application. Firstly, the canvas scoring mode of the Decibel ScorePlayer app allows for other applications, such as Max, to send drawing commands to the ScorePlayer via OSC. Several examples of implementations of generative and animated notation scores are discussed and evaluated. An object model has been developed allowing for the creation of hierarchies of drawn elements. The object model defines a framework of commands that can be used to create and control these objects, and supporting examples describe the way in which scores can be developed to take advantage of this new scoring mode. Secondly, a python scoreplayer - external library has been developed, defining two python classes: scorePlayerExternal that makes a connection to the iPad, opening a UDP listening socket and letting the iPad know which port to send its replies to, and scoreObject which is responsible for creating and drawing objects populated on the canvas display window of the Decibel ScorePlayer. It acts as a wrapper to the raw OSC commands so that programming can be done using object-oriented paradigms. Thirdly, the ScoreCreator, an application developed for Mac OSX for automating the process of making scores for the Decibel ScorePlayer, has been expanded allowing for the defining of a range of score types and functionalities.

@inproceedings{Wyatt_tenor2019,
  Address = {Melbourne, Australia},
  Author = { Aaron Wyatt and Lindsay Vickery and Stuart James },
  Title = {Unlocking the Decibel ScorePlayer},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'19},
  Pages = {61--68},
  Year = {2019},
  Editor = {Cat Hope and Lindsay Vickery and Nat Grant},
  Publisher = {Monash University},
  ISBN = {978-0-6481592-5-4}
}

2018

FULL TENOR'18 PROCEEDINGS

Bibtex | .bib

@book{tenor2018,
  Address = {Paris, France},
  Title = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Year = {2018},
  Editor = "Sandeep Bhagwati and Jean Bresson",
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}

Combining Sound- and Pitch-Based Notation for Teaching and Composition

Mattias Sköld

Abstract Bibtex

My research is concerned with finding a common notation for pitch-based, sound-based and spatialized music in an attempt to bridge the gap between acoustic and electronic music, also working towards the possibility of a holistic system for algorithmic composition based on music representation. This paper describes the first step towards this goal, focusing on the combination of pitch-based and sound-based musical structures, introducing a graphical notation system that combines traditional music notation with electroacoustic music analysis notation. I present how this was tested in practice in a case study within the framework of composition education at the Royal College of Music in Stockholm, where composition students were working with, and reacting to, the system.

@inproceedings{Skold_tenor2018,
  Address = {Montreal, Canada},
  Author = { Mattias Sköld },
  Title = {Combining Sound- and Pitch-Based Notation for Teaching and Composition},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {1--6},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Methods and Tools for Transcribing Electroacoustic Music

Pierre Couprie

Abstract Bibtex

This article presents some tools and methods to carry out transcriptions of electroacoustic music. It introduces the relationship between sound analysis and image or drawing at the birth of electroacoustic music and explains the interest of creating transcriptions. The article contains a proposed framework, based on several years of practice, which links musical analysis to transcription, sound analysis and representation. The different parts of a transcription are then detailed and methods are proposed to create annotations with reference to various examples I have created since the late 1990s. The last section presents the EAnalysis package, developed with Simon Emmerson and Leigh Landy at Leicester's De Montfort University, in order to create a tool for analyzing, transcribing and representing electroacoustic music. It introduces the interface, the architecture and the transcription features of this piece of software in relation to other technologies.

@inproceedings{Couprie_tenor2018,
  Address = {Montreal, Canada},
  Author = { Pierre Couprie },
  Title = {Methods and Tools for Transcribing Electroacoustic Music},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {7--16},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Audiovisual Scores and Parts Synchronized Over the Web

Jonathan Bell

Abstract Bibtex

Typing smartvox.eu into the address bar of the browser of several phones, tablets and/or computers simultaneously is a simple way to understand what this web application is about: the different parts of the same musical score are being synchronized over the internet, through a remote server. This form of music making falls under the category of 'networked music performance', and addresses questions regarding what becomes a live performance of chamber music when musicians are distanced from each other, when sheet music is replaced by screens and headphones, or when the form of the piece is generated live by algorithms. The scores, composed in the Bach environment, display a scrolling playhead in proportional notation, bypassing conventional bars and beat rhythmic notation. Providing the performer with audio-scores and animated musical representation undoubtedly simplifies and speeds up the rehearsal process, but large forces (such as 80 simultaneous connections) and the constraints of a concert situation still leave numerous technical problems unsolved (mainly concerned with synchronization between devices, and server saturation), to which the present paper will attempt to partially formulate a response.

@inproceedings{Bell_tenor2018,
  Address = {Montreal, Canada},
  Author = { Jonathan Bell },
  Title = {Audiovisual Scores and Parts Synchronized Over the Web},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {17--23},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Elaborate Audio Scores: Concepts, Affordances and Tools

Sandeep Bhagwati

Abstract Bibtex

Over the past 18 years, I have repeatedly worked with auditive tools and audio scores that completely replaced any written score. The paper examines characteristics of the type of elaborate, autonomous audio score that I de-veloped during this time, as well as attempts a preliminary classification of the compositional affordances that differentiate audio scores from visual scores. It describes the conveyance modes unique to audio scores; it touches on questions of control and context in elaborate audio scores, including on the question of whether such audio scores must necessarily be comprovisation scores; it details how, in the context of elaborate audio scores, the terms “practicing” and “rehearsal” describe other kinds of activities than they do in the context of visual scores; and it discusses unique problems of timing in the perfor-mance and composition of elaborate audio scores.

@inproceedings{Bhagwati_tenor2018,
  Address = {Montreal, Canada},
  Author = { Sandeep Bhagwati },
  Title = {Elaborate Audio Scores: Concepts, Affordances and Tools},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {24--32},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

LINEAR (Live-generated Interface and Notation Environment in Augmented Reality)

Giovanni Santini

Abstract Bibtex

Recent developments in Augmented Reality (AR) technology are opening up new modes of representation and interaction with virtual objects; at the same time, increase in processing power of portable devices is enabling a wide diffusion of applications until recently usable only in very specific situations (like motion-capture labs). This study aims to describe an AR environment created for musical performance: LINEAR (Live-generated Interface and Notation Environment in Augmented Reality), where the author explored some perspectives made possible by the current state of AR technology applied to music. In LINEAR, one dedicated performer using an AR iPhone app, can create virtual objects (rendered in real-time and superimposed to the real environment) according to the movement of the device; they are used both as virtual interfaces for electronics (sending OSC message to Max/MSP on a computer) and as forms of live-generated graphic notation. LINEAR allows, with some limitations, the representation of gestural movements with an exact 3-D placement in space: we can now have an analogic notation of gestures, rather than a symbolic one. For the iPhone performer, the act of notation corresponds to the notated act. The resulting representations can be also approached as graphic animated notation by other performers (the iPhone screen is mirrored to a projector). The multiple perspectives on the notation and the possibilities of interaction with virtual bodies allow a high level of flexibility, while introducing some almost unprecedented resources and foreseeing a very rich scenario.

@inproceedings{Santini_tenor2018,
  Address = {Montreal, Canada},
  Author = { Giovanni Santini },
  Title = {LINEAR (Live-generated Interface and Notation Environment in Augmented Reality)},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {33--42},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

John, the Semi-Conductor: A Tool for Comprovisation

Vincent Goudard

Abstract Bibtex

This article presents “John”, an open-source software designed to help collective free improvisation. It provides generated screen-scores running on distributed, reactive web-browsers. The musicians can then concurrently edit the scores in their own browser. John is used by ONE, a septet playing improvised electro-acoustic music with digital musical instruments (DMI). One of the original features of John is that its design takes care of leaving the musician's attention as free as possible. Firstly, a quick review of the context of screen-based scores will help situate this research in the history of contemporary music notation. Then I will trace back how improvisation sessions led to John's particular “notational perspective”. A brief description of the software will precede a discussion about the various aspects guiding its design.

@inproceedings{Goudard_tenor2018,
  Address = {Montreal, Canada},
  Author = { Vincent Goudard },
  Title = {John, the Semi-Conductor: A Tool for Comprovisation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {43--49},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Exploring with ILÉA Ensemble: Shaping Freedom in Improvised Music

Kevin Gironnay

Abstract Bibtex

This paper approaches the topic of experimental impro-vised music within an ensemble, and will first present several techniques used in the field of non-idiomatic improvised music, especially in the case of collaborative improvisation such as within Cobra (J. Zorn) and En-semble SuperMusique. After discussing the limitations of these techniques, the method of Ensemble ILÉA will be introduced along with its techniques and solutions to guide an ensemble without restraining the expressivity of the improvisers or limiting the experience of the audi-ence.

@inproceedings{Gironnay_tenor2018,
  Address = {Montreal, Canada},
  Author = { Kevin Gironnay },
  Title = {Exploring with ILÉA Ensemble: Shaping Freedom in Improvised Music},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {50--54},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Improving Sight-Reading Skills through Dynamic Notation – the Case of Comprovisador

Pedro Louzeiro

Abstract Bibtex

This paper proposes an approach to sight-reading improvement using a dynamic notation system – Comprovisador. The system was created with the goal of coordinating musical performances in which a soloist improvises and an ensemble of musicians sight-read a staff-based dynamic score. This situative score is therefore generated by Comprovisador's algorithms which feed on the soloist's improvisation. Musicians read the score from computer screens, in a local network. This kind of musical practice requires performers to be good sight-readers. A good sight-reader (of traditional notation) often relies on pattern recognition, understanding of musical structure and other abilities which come from being familiarized with certain repertoires – but when dealing with situative scores these abilities are seldom relevant. With this consideration, a Practice Tool was developed as part of Comprovisador to allow musicians to get acquainted with the system's notation interface and to learn (not the notes, but) how to deal with not being able to predict patterns or structure. After further development, this tool was tested by music students and teachers in order to assess its applicability in an educational context regarding improvement of sight-reading skills. A study with those participants is presented to validate the utility of the system and identify areas for further development.

@inproceedings{Louzeiro_tenor2018,
  Address = {Montreal, Canada},
  Author = { Pedro Louzeiro },
  Title = {Improving Sight-Reading Skills through Dynamic Notation – the Case of Comprovisador},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {55-61},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

ZScore: A Distributed System For Integrated Mixed Music Composition and Performance

Slavko Zagorac, Patricia Alessandrini

Abstract Bibtex

This paper proposes a distributed system design for mixed ensemble music composition and performance of stave-based dynamic scores. ZScore is a collection of third-party and newly-developed components which aims to implement described networked notation solutions. The solution scope includes complex notation authoring, reliable score data distribution over a network to heterogeneous clients, precise performance scheduling and dynamic rendering of interactive scores. Taking the specification of optimal system features as a starting point, this paper looks at suitable solutions from other industries where high-throughput, low-latency systems have been successfully implemented. It presents the case for SVG-based notation representation, its distribution over a reliable message-oriented middleware and the innovative alternating pane layout design for dynamic notation rendering. Finally, the paper describes the current state of ZScore development and outcomes from initial user trials. It concludes with future perspectives towards realizing the underlying ambition behind this project: to blur and thereby call into question the traditional boundaries between the roles of a composer, performer, conductor and audience through the effective utilization of cutting-edge technology.

@inproceedings{Zagorac_tenor2018,
  Address = {Montreal, Canada},
  Author = { Slavko Zagorac and Patricia Alessandrini },
  Title = {ZScore: A Distributed System For Integrated Mixed Music Composition and Performance},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {62--70},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Towards a Notation for Trumpet Valve Rotation

Dan O'Connor, Lindsay Vickery

Abstract Bibtex

Many contemporary performers and composers seek new sounds through extension of traditional instrument techniques. For the trumpet one such extended technique is valve rotation, the rotation of a trumpet piston valve within its casing affecting the timbral complexity of airstream effects. This paper describes the development of a system for notating valve rotation using a prescriptive graphical language and an animated interface for entering continuous rotation and airstream data.

@inproceedings{Oconnor_tenor2018,
  Address = {Montreal, Canada},
  Author = { Dan O'Connor and Lindsay Vickery },
  Title = {Towards a Notation for Trumpet Valve Rotation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {71--76},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Gioqoso, an On-line Quality Assessment Tool for Music Notation

Francesco Foscarin, David Fiala, Florent Jacquemart, Philippe Rigaux, Virginie Thion

Abstract Bibtex

Quality is a daily concern to everyone involved in the production of digitized scores. We propose an on-line interface devoted to music notation, freely accessible to the community, intended to help users to assess the quality of a score thanks to a combination of automatic and interactive tools. This interface analyzes a score supplied in MusicXML or MEI, and reports quality problems evaluated with respect to a taxonomy of quality rules. We expose the motivation, describe the interface, and present the methodology.

@inproceedings{Foscarin_tenor2018,
  Address = {Montreal, Canada},
  Author = { Francesco Foscarin and David Fiala and Florent Jacquemart and Philippe Rigaux and Virginie Thion },
  Title = {Gioqoso, an On-line Quality Assessment Tool for Music Notation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {77--84},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

MazurkaBL: Score-aligned Loudness, Beat, and Expressive Markings Data for 2000 Chopin Mazurka Recordings

Katerina Kosta, Oscar F. Bandtlow, Elaine Chew

Abstract Bibtex

Large-scale analysis of expressive performance—with focus on how a performer responds to score markings---has been limited by a lack of big datasets of recordings with accurate beat and loudness information with score markings. To bridge this gap, we created the MazurkaBL dataset, a collection of score-beat positions and loudness values, with corresponding score dynamic and tempo markings for 2000 recordings of forty-four Chopin Mazurkas. MazurkaBL forms the largest annotated expressive performance dataset to date. This paper describes how the dataset was created, and variations found in the dataset. For each Mazurka, the recordings were first aligned to the score and one to another to facilitate the transfer of meticulously created manual beat annotations from one reference to all other recordings. We propose a multi-recording alignment heuristic that optimises the reference audio choice for best average alignment results. Loudness values in sones are extracted and analysed; we also provide the score position of dynamic and tempo markings. The result is a rich repository of score-aligned loudness, beat, and expressive marking data for studying expressive variations. We further discuss recent and future applications of MazurkaBL and future directions for database development.

@inproceedings{Kosta_tenor2018,
  Address = {Montreal, Canada},
  Author = { Katerina Kosta and Oscar F. Bandtlow and Elaine Chew },
  Title = {MazurkaBL: Score-aligned Loudness, Beat, and Expressive Markings Data for 2000 Chopin Mazurka Recordings},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {85--94},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Traditional Modal Monodies Generative Grammar Encoding in the Music Encoding Initiative

Mark Asmar, Talar Atéchian, Nidaa Abou Mrad, Sylvaine Leblond Martin

Abstract Bibtex

Encoding written music with a textual format is a technology developed for exchanging and analyzing digital music scores. In the literature, many standards exist for this purpose, such as, MusicXML and the Music Encoding Initiative (MEI). The Music Encoding Initiative is a standard developed for encoding music scores in XML. It supports the encoding of different types of notations, such as, Common Music Notation, Neumes Notation, etc. It encodes many features and elements related to musical components such as the pitch name, the octave and the duration of notes. However, for the researchers in musicology, additional information are necessary to enrich the MEI and in order to provide more specific music analysis. In this paper, we target the modal monodies analysis. Thus, we propose to enrich the MEI by appending to its initial schema additional information extracted from the generative grammar of modal monodies. The proposed solution consists of adding a custom module to the MEI containing new elements and attributes. In addition, a new semi-automated analysis component is proposed for the analysis of traditional Modal Monodies of the Middle East and the Mediterranean cultures.

@inproceedings{Asmar_tenor2018,
  Address = {Montreal, Canada},
  Author = { Mark Asmar and Talar Atéchian and Nidaa Abou Mrad and Sylvaine Leblond Martin },
  Title = {Traditional Modal Monodies Generative Grammar Encoding in the Music Encoding Initiative},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {95--103},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Dezrann, a Web Framework to Share Music Analysis

Mathieu Giraud, Richard Groult, Emmanuel Leguy

Abstract Bibtex

Music analysis on traditional scores is often based on annotated elements, such as patterns, harmonies, or sections. Music students, teachers, players, or researchers are used to annotate music and to discuss these analyses. Music lovers, even when they do not read music, also frequently talk about music and share their reaction to specific sections. We present Dezrann, an open-source web platform for music annotation and analysis on scores in traditional notation, developed with the Web Components through the Polymer framework. Dezrann enables to view, edit, and share music analysis through sets of labels on a score or a waveform. Labels are linked to musical positions and possibly to voices of the score, and can have a duration or not. They can be created or edited with simple mouse or finger gestures. A public server is available to test the application on Bach fugues and chorales as well as on Mozart string quartets.

@inproceedings{Giraud_tenor2018,
  Address = {Montreal, Canada},
  Author = { Mathieu Giraud and Richard Groult and Emmanuel Leguy },
  Title = {Dezrann, a Web Framework to Share Music Analysis},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {104--110},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Symbolist: An Open Authoring Environment for User-Defined Symbolic Notation

Rama Gottfried, Jean Bresson

Abstract Bibtex

We present symbolist, a graphic notation environment for music and multimedia. symbolist is based on an Open Sound Control (OSC) encoding of symbols representing multi-rate and multidimensional control data, which can be streamed as control messages to audio processing or any kind of media environment. Symbols can be designed and composed graphically, and brought in relationship with other symbols. The environment provides tools for creating symbol groups and stave references, by which symbols maybe timed and used to constitute a structured and executable multimedia score.

@inproceedings{Gottfried_tenor2018,
  Address = {Montreal, Canada},
  Author = { Rama Gottfried and Jean Bresson },
  Title = {Symbolist: An Open Authoring Environment for User-Defined Symbolic Notation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {111--118},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

A Cognitive Dimensions Approach for the Design of an Interactive Generative Score Editor

Samuel Hunt, Thomas Mitchell, Chris Nash

Abstract Bibtex

This paper describes how the Cognitive Dimensions of Notation can guide the design of algorithmic composition tools. Prior research has also used the cognitive dimensions for analysing interaction design for algorithmic composition software. This work aims to address the shortcomings of existing algorithmic composition software, by utilising the more commonly used score notation interfaces, rather than patch based or code based environments. The paper sets out design requirements in each dimension and presents these in the context of a software prototype. These principles are also applicable for general music composition systems.

@inproceedings{Hunt_tenor2018,
  Address = {Montreal, Canada},
  Author = { Samuel Hunt and Thomas Mitchell and Chris Nash },
  Title = {A Cognitive Dimensions Approach for the Design of an Interactive Generative Score Editor},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {119--127},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Pitches in bach

Andrea Agostini, Daniele Ghisi

Abstract Bibtex

Traditionally, most computer-aided composition environments represent a pitch via a number (typically a MIDI note number or its value in midicents), flattening the enharmonic information onto a single real-valued parameter. Although this choice is convenient in many applications, it can be very limiting in any context where diatonicism, to some degree, matters. The latest release of bach, a library for Max dedicated to musical representation and computer-aided composition, introduces a new `pitch' data type, designed to overcome this limitation by representing both diatonic pitches and intervals and supporting standard arithmetic operations. In this article we motivate and detail its implementation and its syntax. As an application, we introduce a new respelling algorithm, also implemented in \bach, designed to provide an easy-to-read spelling of notes. Differently from most existing pitch spelling algorithms, tailored on the tonal repertoire, our algorithm is targeted to produce a musician-friendly representation of non-tonal music.

@inproceedings{Agostini_tenor2018,
  Address = {Montreal, Canada},
  Author = { Andrea Agostini and Daniele Ghisi },
  Title = {Pitches in bach},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {128--137},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

MaxScore: Recent Developments

Georg Hajdu, Nick Didkovsky

Abstract Bibtex

This paper presents recent development in MaxScore and its peripheral applications. These developments include: a) adding new functionality to the core mxj object including details on our implementation of an un-do/redo stack, new licensing models, custom beam groups, and other new features, b) strategies to achieve proportional notation, with a look to the future, c) expanding the feature set of the MaxScore and LiveScore Editors which include new style editors for the design of non-standard clefs, tablature nota-tion and Bohlen-Pierce microtonality, d) providing tools for greater compatibility with other third-party developments such as bach, Mira, the Scala Archive as well as the conTimbre sample li-brary and its ePlayer, e) new peripheral components for guided improvisation and situated scores, f) strategies to achieve proportional notation, with a look to the future.

@inproceedings{Hajdu_tenor2018,
  Address = {Montreal, Canada},
  Author = { Georg Hajdu and Nick Didkovsky },
  Title = {MaxScore: Recent Developments},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {138--146},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

dada: Non-Standard User Interfaces for Computer-Aided Composition in Max

Daniele Ghisi, Carlos Agon

Abstract Bibtex

This article introduces the dada library, providing Max with the ability to organize, select and generate musical content via a set of graphical interfaces manifesting an interactive, explorative approach. Its modules address a range of scenarios, including, but not limited to, database visualization, score segmentation and analysis, concatenative synthesis, music generation via physical or geometrical modelling, wave terrain synthesis, graph exploration, cellular automata, swarm intelligence, and videogames. The library is open-source and extendable; similarly to bach, it fosters a performative approach to computer-aided composition (as opposed to traditional off-line techniques): the outcome of all its interfaces can be recorded in scores, or used in real time to drive, among other things, digital signal processes, score transformations, video treatments, or physical actuators.

@inproceedings{Ghisi_tenor2018,
  Address = {Montreal, Canada},
  Author = { Daniele Ghisi and Carlos Agon },
  Title = {dada: Non-Standard User Interfaces for Computer-Aided Composition in Max},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {147--156},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Space Notation in Electroacoustic Music: From Gestures to Signs

Bertrand Merlier

Abstract Bibtex

This article is based on an analysis of the functionalities of many devices and software used for sound spatialization, an original research about space perception modes and finally an in-depth study about musical notation systems. Theses studies lead the author to propose a notation system for spatialization activities, simply based on the paradigm of our Western classical music notation. Various examples illustrate the merits and versatility of this proposal. The present notation is both descriptive and prescriptive. Thus, a practical implementation based on MIDI standard also makes possible instrumental space performances, implemen-tation of algorithmic processes, space writing and structuring, but also offers access to all the existing software such as MIDI sequencer, MIDI computing and score writing. The MIDISpat plug-in – developed by the author – has been used for many years inside of Reaper digital audio sequencer.

@inproceedings{Merlier_tenor2018,
  Address = {Montreal, Canada},
  Author = { Bertrand Merlier },
  Title = {Space Notation in Electroacoustic Music: From Gestures to Signs},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {157--164},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Some Approaches to Representing Sound with Colour and Shape

Lindsay Vickery

Abstract Bibtex

In recent times much of the practice of musical notation and representation has begun a gradual migration away from the monochrome standard that existed since the emergence of printed Non-Western music in the 16th century, towards the full colour pallet afforded by modern printers and computer screens. This move has expanded the possibilities available for the representation of infor-mation in the musical score. Such an expansion is argua-bly necessitated by the growth of new musical techniques favouring musical phenomena that were previously poor-ly captured by traditional Western musical notation. As time-critical form of visualisation there is a strong imper-ative for the musical score to employ symbols that signi-fy sonic events and the method of their execution with maximal efficiency. One important goal in such efficien-cy is “semantic soundness”: the degree to which graphical representations makes inherent sense to the reader. This paper explores the implications of recent research into cross-modal colour-to-sound and shape-to sound map-pings for the application of colour and shape in musical scores. The paper also revisits Simon Emmerson’s Super-Score concept as a means to accommodate multiple syn-chronised forms of sonic representation (the spectrogram and spectral descriptors for example) together with alter-native notational approaches (gestural, action-based and graphical for example) in a single digital document.

@inproceedings{Vickery_tenor2018,
  Address = {Montreal, Canada},
  Author = { Lindsay Vickery },
  Title = {Some Approaches to Representing Sound with Colour and Shape},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {165--173},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Removing the Imaginary Boundary between Score and Work: Interactive Geometrical Notation

Jason Noble

Abstract Bibtex

In many notational practices in late 20th- and early 21st- century music, the score has a visual artistry all its own. Nevertheless, even heavily graphical Augenmusik scores are often experienced only by the composer and perform-er, and are not part of the audience's visual experience of performance. Because elements from non-auditory modal-ities (especially visual) seem essential to many musical works, I argue for a multimodal understanding of such pieces, removing the imaginary boundary between score and work. I discuss a type of aleatoric, flowchart-like geometrical notation that I frequently use in my own compositions, using hybrid notation combining standard musical notation with geometrical forms. This kind of notation helps clarify the analogy between visual and auditory modalities. In my piece simple geometries, I integrate geometrical notation into performance with the projection of an interactive, animated score that uses movement and changes of zoom perspective to make the logic of the work’s open form accessible to the audience.

@inproceedings{Noble_tenor2018,
  Address = {Montreal, Canada},
  Author = { Jason Noble },
  Title = {Removing the Imaginary Boundary between Score and Work: Interactive Geometrical Notation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {174--180},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Reframing the Listening Experience Through the Projected Score

David Kim-Boyle

Abstract Bibtex

Over the past ten years, performance scores have been radically foregrounded in a variety of performance practic-es. Whether such notations assume a prescriptive func-tion, visually projected for musicians to interpret, or a descriptive one, unfolding as a documentation of a live coding performance, how might such a foregrounding reframe the listening process for an audience? Does a notational schema help promote a deeper, structural level understanding of a musical work? This paper will con-sider these various questions, exploring how principles of graphic design and the transparency of notation contribute to the listening experience. It will suggest that works featuring projected scores find aesthetic value in the jux-taposition of notation's traditionally mnemonic function and the unique temporal modalities that projected scores establish.

@inproceedings{Kim-Boyle_tenor2018,
  Address = {Montreal, Canada},
  Author = { David Kim-Boyle },
  Title = {Reframing the Listening Experience Through the Projected Score},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {181--185},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

A Combination of Graphic Notation and Microtonal Pitch Notation in the Video Score of the Opera "The Cross of the Engaged"

Christian Klinkenberg

Abstract Bibtex

This paper describes a procedure for isolating pitch nota-tion in the environment of a flexible real-time graphic video notation. It aims to combine precise microtonal pitch and the flexible interpretation of other parameters such as rhythm, volume, attack and decay. The procedure was developed and tested in the opera The Cross of the Engaged. The pitch is notated exclusively by note heads and accidentals on the lower third of the screen, some-times supplemented by short written explanations or pictograms. These note heads are linked to a correspond-ing graphic element on the upper part of the screen by using the same color. Each musician, conductor, director, singer and technician was given a custom-made video file, playable on his or her private laptop or tablet, re-gardless of operating system or video player app used.

@inproceedings{Klinkenberg_tenor2018,
  Address = {Montreal, Canada},
  Author = { Christian Klinkenberg },
  Title = {A Combination of Graphic Notation and Microtonal Pitch Notation in the Video Score of the Opera "The Cross of the Engaged"},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {186--192},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Scoring an Animated Notation Opera -- The Decibel Score Player and the Role of the Digital Copyist in 'Speechless'

Cat Hope, Aaron Wyatt, Daniel Thorpe

Abstract Bibtex

This paper outlines the developments made to the Decibel ScorePlayer, the software that enables the delivery of the digital, graphic animated score of an hour long new opera by composer Cat Hope, entitled Speechless. The Decibel ScorePlayer is an iPad application that delivers the coordinated reading of graphic notation that was first created in 2012 and has been updated regularly ever since it was made available on the iTunes store the following year. Engaging the software to deliver the score for an hour long opera featuring a thirty piece orchestra, a thirty voice choir and four soloists saw considerable improvements made, contributing to a smooth running workshop period for the work. The workshop saw the score for the opera being updated, revised, added to and shared with different sections of musicians, vocalists, technicians and stage managers daily. This paper summarises the major additions to the score player software that came about as a result of this workshopping period and discusses pro-cedures, developments and contributions engaged to facilitate the score updating process in a digital score for a large-scale work.

@inproceedings{Hope_tenor2018,
  Address = {Montreal, Canada},
  Author = { Cat Hope and Aaron Wyatt and Daniel Thorpe },
  Title = {Scoring an Animated Notation Opera -- The Decibel Score Player and the Role of the Digital Copyist in 'Speechless'},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {193--200},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

Scoring for Conversation

Aaron Finbloom

Abstract Bibtex

This paper discusses the prospects of using verbal notation to score live conversation. It defines a practice of conversation scoring that lies in-between two poles of structured conversations 1) where the content is entirely scripted, and 2) in which a conversation is structured primarily based on an initial set of static conditions (ex. location, time, roles, etc). By working in this middle-ground, conversation scores push conversation to new pedagogical, formal, and methodological limits, while retaining critical elements of conversation such as: spontaneous interruptibility, investment in a subject matter, and a non-linear yet quasi-coherent thought pathway or topic. This paper will discuss notable examples of event-scores both as a means of distinguishing this practice from other verbal notational practices, and for the purposes of elucidating key notational methods which have influenced this practice. The bulk of the paper will then go on to discuss various types of conversational semantic (and para-semantic) directives and end by discussing mechanisms for sequencing these directives. It is my hope that by expanding scoring into a live conversational field, that the practice of conversation itself can be expanded by adopting notational methodologies and aesthetic components that allows us to conceive of conversation as not entirely bound by its content, but defined by its dynamic movements and performative parameters.

@inproceedings{Finbloom_tenor2018,
  Address = {Montreal, Canada},
  Author = { Aaron Finbloom },
  Title = {Scoring for Conversation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18},
  Pages = {201--208},
  Year = {2018},
  Editor = {Sandeep Bhagwati and Jean Bresson},
  Publisher = {Concordia University},
  ISBN = {978-1-5251-0551-7}
}

2017

FULL TENOR'17 PROCEEDINGS

Bibtex | .bib

@book{tenor2017,
  Address = {A Coru\~{n}a, Spain},
  Title = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Corun\~{n}a},
  ISBN = {978-84-9749-666-7}}

Digitization of historial music archives: Preserving the past, embracing the future

Goffredo Haus, Luca A. Ludovico

Abstract Bibtex

Cultural institutions dealing with music (opera houses, conservatories, public and private collections, etc.) often hold huge archives made of music related heterogeneous materials. These subjects can greatly benefit from digitization campaigns and the consequent adoption of ICT techniques as it regards not only the preservation, but also the exploitation and revivification of their content. This paper, that summarizes the keynote speech held at the 3rd International Conference on Technologies for Music Notation and Representation (TENOR 2017), starts from the experiences of the Teatro alla Scala and the Ricordi Historical Archive in order to show the new possibilities emerging from the adoption of computer-based technologies and approaches.

@inproceedings{Haus_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Goffredo Haus and Luca A. Ludovico },
  Title = {Digitization of historial music archives: Preserving the past, embracing the future},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {1--8},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

MACAQUE — A tool for spectral processing and transcription

George Hajdu

Abstract Bibtex

This paper describes Macaque, a tool for spectral processing and transcription, in development since 1996. Macaque was programmed in Max and, in 2013, embedded into the MaxScore ecosystem. Its GUI offers several choices for the processing and transcription of SDIF partial-track files into standard music notation. At the core of partial-track transcription is an algorithm capable of “attracting” partial tracks (and fragments thereof) into single staves, thereby performing an important aspect of “spectral orchestration.”

@inproceedings{Hajdu_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { George Hajdu },
  Title = {MACAQUE — A tool for spectral processing and transcription},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {9--15},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

A machine learning framework for the categorization of elements in images of musical documents

Jorge Calvo-Zaragoza, Gabriel Vigliesoni, Ichiro Fujinaga

Abstract Bibtex

Musical documents may contain heterogeneous information such as music symbols, text, staff lines, ornaments, annotations, and editorial data. Before any attempt at automatically recognizing the information on scores, it is usually necessary to detect and classify each constituent layer of information into different categories. The greatest obstacle of this classification process is the high heterogeneity among music collections, which makes it difficult to propose methods that can be generalizable to a broad range of sources. In this paper we propose a novel machine learning framework that focuses on extracting the different layers within musical documents by categorizing the image at pixel level. The main advantage of our approach is that it can be used regardless of the type of document provided, as long as training data is available. We illustrate some of the capabilities of the framework by showing examples of common tasks that are frequently performed on images of musical documents, for which our approach has shown promising performance. We believe our framework will allow the development of generalizable and scalable automatic music recognition systems from document images, thus facilitating the creation of large-scale browsable and searchable repositories of music documents.

@inproceedings{Calvo-Zaragoza_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Jorge Calvo-Zaragoza and Gabriel Vigliesoni and Ichiro Fujinaga },
  Title = { A machine learning framework for the categorization of elements in images of musical documents},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {17--23},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

A web Interface for the analysis and performance of aleatory music notation

Adriano Baratè, Luca A. Ludovico

Abstract Bibtex

Black and White n.2 is a collection of 120 exercises for keyboard instrument(s) written by the Italian composer Franco Donatoni. Conceived as aleatory music, this composition adopts a non-conventional way to encode the score where some parameters are fixed and others are left to chance. In this work, we will describe a Web-based framework that, after inserting user-defined scores in Donatoni's notation, is able to automatically produce score versions compatible with the composer's constraints and executable by a human player. This application produces modern staff notation and can perform it via the Web Audio API. The goal is on one side to revive the interest towards aleatory music literature, and Donatoni's repertoire in particular, and on the other to investigate the compositional and computational process that originate a given score out of many aleatory variants.

@inproceedings{ Barate_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Adriano Baratè and Luca A. Ludovico },
  Title = {A web Interface for the analysis and performance of aleatory music notation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {25--31},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

The 3-D score

David Kim-Boyle

Abstract Bibtex

This paper examines attempts by composers to transcend the two-dimensional constraints of the printed page in musical notation. The author reviews how material depth in printed media has been explored to help create new structural forms and two of the author’s works which feature real-time, three-dimensional scores are examined. Incumbent technical limitations and constraints of multidimensional notational schemas are discussed and the author concludes by arguing that the reading through of a notational schema affords a new spatial ontology for the works represented.

@inproceedings{Kim-Boyle_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { David Kim-Boyle },
  Title = {The 3-D score},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {33--38},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

An architectural approach to 3D spatial drum notation

Jeremy J. Ham

Abstract Bibtex

This research has evolved from creative practice focused on inter-disciplinary positioning between the domains of music and architecture. Through engagement in the theories and practice of architectural representation and the computational tools of spatial design, a new form of 3D spatial drum notation is presented. This notation seeks to compliment the capacities of traditional drum notation and overcome issues inherent in a theoretical ‘musico-perspectival hinge’ between the notation and the meaning of the notation. A representational schema of the spatial drum notation is discussed in the first instance in relation to the development of a lexicon of referent drum patterns and phrases and then in the testing of notation on a multi-layered improvised ‘drumscape’ composition. The paper culminates in the extension beyond notation into the realm of music spatialization through 3D printing, digital fabrication and Virtual Reality.

@inproceedings{Ham_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Jeremy J. Ham },
  Title = {An architectural approach to 3D spatial drum notation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {39--49},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

A CAP for graphic scores. Graphic notation and performance

Benny Sluchin, Mikhail Malt

Abstract Bibtex

Many graphic scores use the pitch versus time presentation, as a natural extension of the usual notation. In the general case, it displays discrete pitches, in a fixed timeline. Nevertheless, graphic scores use a lot of continuous lines, and the vertical dimension can be adapted to a particular performance. In such a way, the instrumentation is free, and the actual range of a particular instrument can be adapted according to the notation. The present article is initiated by a search to provide the performer with adequate tools to approach the execution of such works. A computer assisted performance approach helps the player in the preparation process for both: the time and the pitch approximations. The simulation can enhance the performance in approaching the graphical notation.

@inproceedings{Sluchin_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Benny Sluchin and Mikhail Malt },
  Title = {A CAP for graphic scores. Graphic notation and performance},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {51--56},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Are scores maps? A cartographic response to Goodman

Daniel Miller

Abstract Bibtex

Nelson Goodman’s theory of notation attempts to provide an ambitious, unified account of how systems of symbolic representation preserve and transmit information and how they differ from pictorial depiction. However, Goodman’s account of music and dance notation has proven unpopular, with some critics objecting to the rigor with which scores and musical symbols are assumed to designate musical works and their constituent elements. This paper reconsiders a Goodmanian account of a music notation system in the light of recent philosophical work on maps and map-like cognition. Specifically, I propose that scores do not act as compound symbols that uniquely designate musical works. Instead notational components of scores are better understood as contingent surface-level features leveraged by an underlying map-like representational structure. On this account, scores are seen to be highly conventionalized maps, and the notational symbols of scores constitute just one of multiple modes of representation and depiction harnessed by this framework. Finally, I consider several contemporary examples of music notation and discuss how a cartographic theory of notation may provide novel insights into the graphic design considerations of these scores, particularly those that rely on new notation platforms such as graphic design software or animation, where depictive and symbolic strategies are frequently hybridized.

@inproceedings{Miller_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Daniel Miller },
  Title = { Are scores maps? A cartographic response to Goodman},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {57--67},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

How can music visualisation techniques reveal different perspectives on musical structure?

Samuel J. Hunt, Tom Mitchell, Chris Nash

Abstract Bibtex

Standard western notation supports the understanding and performance of music, but has limited provisions for revealing overall musical characteristics and structure. This paper presents several visualisers for highlighting and providing insights into musical structures, including rhythm, pitch, and interval transitions, also noting how these elements modulate over time. The visualisations are presented in the context of Shneiderman’s Visual Information-Seeking Mantra, and terminology from the Cognitive Dimensions of Music Notations usability framework. Such techniques are designed to make understanding musical structure quicker, easier, less error prone, and take better advantage of the intrinsic pattern recognition abilities of humans.

@inproceedings{Hunt_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Samuel J. Hunt and Tom Mitchell and Chris Nash },
  Title = {How can music visualisation techniques reveal different perspectives on musical structure?},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {69--78},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Melody retrieval and composer attribution using sequence alignment on RISM incipits

Jelmer van Nuss, Geert-Jan Giezeman, Frans Wiering

Abstract Bibtex

The RISM A/II database is filled with the musical notations of the beginnings of more than a million melodies. The Monochord search engine can retrieve melodies that are similar to a query melody using several search methods, amongst which pitch raters, weight-based raters and duration-based raters. The performance of all 27 search methods is evaluated using mean average precision metrics and the TREC framework that is suited for retrieval performance analysis. The difference in exact pitch between melodies turns out to be the best factor to search with for musical similarity retrieval. All melodies have metadata such as a composer name, but a portion of the database is labelled as Anonymus. A k-Nearest Neighbours algorithm is optimised for the purpose of deanonymisation and used to classify several Anonymus songs to test the applicability of this classifier for composer labelling. Using a classifier for deanonymisation purposes turns out to be viable with human correction.

@inproceedings{Nuss_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Jelmer van Nuss and Geert-Jan Giezeman and Frans Wiering },
  Title = { Melody retrieval and composer attribution using sequence alignment on RISM incipits},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {79--90},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Formalizing quality rules on music notation. An ontology-based approach.

Samira Cherfi, Fayçal Hamdi, Philippe Rigaux, Virginie Thion, Nicolas Travers

Abstract Bibtex

We address the issue of expressing and evaluating quality rules on music notation. Since music engraving is a highly flexible process that can hardly be constrained by universal principles and rules, score production still heavily relies on the user expertise in order to make context-dependent decisions. We therefore propose a quality management approach based on a formal modeling of this expertise. We show how to use such a model to express context-aware rules that can be evaluated either a priori to prevent the production of faulty notations, or a posteriori to assess quality indicators regarding a score or a corpus of scores. The paper proposes a simple ontology for musical notation, shows how quality rules can be formally stated and evaluated, and illustrates the approach with examples drawn from a large digital library of scores.

@inproceedings{Cherfi_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Samira Cherfi and Fayçal Hamdi and Philippe Rigaux and Virginie Thion and Nicolas Travers },
  Title = { Formalizing quality rules on music notation. An ontology-based approach.},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {91--97},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

SMARTVOX. A web-based distributed media player as notation tool for choral practices

Jonathan Bell, Benjamin Matuszewski

Abstract Bibtex

The present paper describes the features and implementation of SmartVox , an application designed to help vocal ensembles learn and perform polyphonic music. Technically, SmartVox is a distributed web application that delivers audiovisual scores through the performer’s mobile devices. From a singer’s point of view, this setup allows for the synergy between visual and acoustic stimuli, which facilitates the interpretive and performative processes, particularly in polyphonic passages. It also enables spatial separation of the performers (cori spezzati ), and speeds up the learning process of unfamiliar musical materials (e.g. microtonal tuning, texts in a foreign language). The ubiquity of smartphones makes such a distributed system affordable and allows the use of SmartVox in multiple contexts, from professional ensembles to pedagogical and recreational practices.

@inproceedings{Bell_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Jonathan Bell and Benjamin Matuszewski },
  Title = {SMARTVOX. A web-based distributed media player as notation tool for choral practices},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {99--104},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Notated control as composed liveness in works for digitally extended voice

Kristina Warren

Abstract Bibtex

This study argues that learning of varying control mappings in digitally extended voice works imbues body and memory into liveness. The author built and uses the Abacus, a unique, microphone-mounted, Arduino-based musical interface, to control granulation of live vocal samples. There are sixteen pre-composed mappings of Abacus control data (eight toggle switches) to granulation parameters, and mapping changes regularly. An animated screen score provides manual toggle control instructions, which didactically supply information on current mapping. The author’s practice is related to other composer-vocalists’ works for digitally extended voice and to a larger context of screen scores and musical games. Extended voice treats vocal presence as body-technology intersection, and screen scores and musical games highlight embodied learning using unchanging control mappings. The author’s work unites these realms, arguing that repeated, notation-driven learning of the action-sound relationship thematizes complex interactions between body, temporality, memory, and presence.

@inproceedings{Warren_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Kristina Warren },
  Title = {Notated control as composed liveness in works for digitally extended voice},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {105 --110},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Notating electroacoustic music for performers from a practitioner's experience

Terri Hron

Abstract Bibtex

This paper discusses notation practices and experiments within the electroacoustic performance and composition practice of the author. These spring from a performer and performance-oriented position towards notation in a field that has traditionally catered more to notation for analysis and description. As such, the works and experiences discussed offer hybrid solutions and multiple formats to satisfy specific needs for the effective rehearsal and performance of electroacoustic music. The adaptation of tools specific to electroacoustic practice for more contemporary classical performers is discussed using examples from works written for and by the author in collaboration with other performers and composers.

@inproceedings{Hron_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Terri Hron },
  Title = {Notating electroacoustic music for performers from a practitioner's experience},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {111--115},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Performer action modeling in real-time notation

Seth Shafer

Abstract Bibtex

This paper discusses the application of action-based music notation, and in particular performer action modeling, to my real-time notation (RTN) work, Terraformation (2016–17), which uses a combination of common practice notation (CPN), fingerboard tablature, and color gradients.

@inproceedings{Shafer_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Seth Shafer },
  Title = { Performer action modeling in real-time notation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {117--123},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Expression marks for programming interactive music.

Juan Carlos Martínez Nieto, Jason Freeman

Abstract Bibtex

The present work uses common Western music notation to represent logical and systematic behaviours of computer music processes in the context of score-oriented interactive music. The algorithmic representation is described by adding programming annotations in a controlled natural language to a musical staff as expression marks in the score. We implemented a computational environment that is able to translate these expression marks into coding instructions and execute them in real-time during a live performance of an interactive-music piece. A collection of short interactive music exercises for MIDI-controlled piano based on the proposed notation was composed and edited using music engraving software. During the compilation stage, an encoded version of the score in MusicXML format is translated into scripting code, and during live performance the computational environment executes the code in real time in sync with the human-performed parts. This paper introduces the syntax of expression marks for programming interactive music through a classic “Hello World” example in the context of interactive music and explains the technical details behind the implementation of the computational environment. The main motivation behind this work was to evaluate the viability of creating a cohesive symbolic representation of interactive music that is independent of specific software and hardware frameworks, and is strongly connected with the western music tradition.

@inproceedings{Martinez-Nieto_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Juan Carlos Martínez Nieto and Jason Freeman },
  Title = {Expression marks for programming interactive music.},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {125--130},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Timed sequences: A framework for computer aided composition with temporal structures

Jérémie Garcia, Dimitri Bouche, Jean Bresson

Abstract Bibtex

The software framework we present implements a simple and generic representation of the temporal dimension of musical structures used in computer-aided composition software. These structures are modelled as ordered sets of abstract “timed items” whose actual dates can be set and determined following different strategies. The timed items can be linked to an underlying action scheduling and rendering system, and can also be used as temporal handles to perform time stretching and hierarchical synchronization operations. A graphical user interface associated with this model can be embedded as a component within musical editors. We give several examples of musical objects implemented in this framework, as well as examples of time-domain operations and user interactions.

@inproceedings{Garcia_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Jérémie Garcia and Dimitri Bouche and Jean Bresson },
  Title = {Timed sequences: A framework for computer aided composition with temporal structures},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {131--136},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

The house harmonic filler: Interactive exploration of chord sequences by means of an intuitive representation

Angel Faraldo, Perfecto Herrera, Sergi Jordà

Abstract Bibtex

In this paper we present an interactive two-dimensional representation of musical chord progressions, integrated into a computer program that generates house music harmonic loops in MIDI format, based on a user's input. Our aim is to encapsulate relevant tonal information and display it in ways that are easy to understand for novices and untrained musicians, facilitating the creative exploration of musical ideas. We briefly reference previous work on tonal visualisation and interaction, and introduce some measures of tonal properties from the literature. We then present our system and describe the two-dimensional harmonic map, before discussing its outcomes and shortcomings, pointing at future lines of research in the conclusions.

@inproceedings{Faraldo_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Angel Faraldo and Perfecto Herrera and Sergi Jordà },
  Title = { The house harmonic filler: Interactive exploration of chord sequences by means of an intuitive representation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {137--143},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Generating equivalent rhythmic notations based on rhythm tree languages.

Florent Jacquemard, Adrien Ycart, Masahiko Sakai

Abstract Bibtex

We propose a compact presentation of languages of preferred rhythm notations as formal grammars. It is based on a standard structure of rhythm trees capturing a wide range of rhythms in Western notation. As an application, we then describe a dynamic programming algorithm for the lazy enumeration of equivalent rhythm notations (i.e. notations defining the same durations), from the simplest to the most complex. This procedure, based on the notion of rhythm grammars has been implemented and may be useful in the context of automated music transcription and computer-assistance to composition.

@inproceedings{Jacquemard_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Florent Jacquemard and Adrien Ycart and Masahiko Sakai },
  Title = {Generating equivalent rhythmic notations based on rhythm tree languages.},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {145--153},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

“Des pas sur l’invisible”. The octave space and the self-multiplication process.

Silvia Mendonça

Abstract Bibtex

The purpose of this paper is to describe the process, from a composition standpoint, from which my piece Des pas sur le invisible (2016) for clarinet or solo saxophone, was composed. This work is part of a PhD in music in which I propose a model of composition based on a self-multiplication process, and was created within the context of the Frederico de Freitas Interpretation Prize, Universidade de Aveiro (May 2016 edition). Starting from a pre composing point of view, we will consider the octave musical interval as a metaphor for the self-multiplication process. This reflection allows us to think the octave as a space and therefore, how the attribution of this extended dimension can be rethought in music, leading us to new approaches of the composition practice. The piece Des pas sur le invisible will show how this approach can be accomplished, serving to illustrate a thought that takes place outside the proper world of musical elements and considerations that can be decisive in the musical discourse. It will show how the principle behind the conception of this work can develop perspectives for the composition notation practice and for future research.

@inproceedings{Mendonca_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Silvia Mendonça },
  Title = { “Des pas sur l’invisible”. The octave space and the self-multiplication process.},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {155-159},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Vexations of ephemerality.

Sandeep Bhagwati

Abstract Bibtex

What do we do when we subject musicians and audiences to music prompted by real-time scores? Such situative scores create a new kind of immanent relationship between performers and audiences, between composers and performers, composers and audiences – a relationship whose ingrained disregard of context, memory, and knowledge has often been ignored. The use of situative scores seems to inscribe itself into a more general societal trend that uses technology to ephemeralize our lives, to decouple presence from its history. While this immanence has often been perceived as a force for the emancipation of performers and spectators, it can also give rise to unaccountability. Do artistic practices that ephemeralize our artistic 'regime of perception, sensation and interpretation' (Rancière) - such as situative scores – foster abuses of immanence?. In this paper, I will look at such questions from the perspective of the performers, the audiences and the makers of such scores – the composers.

@inproceedings{Bhagwati_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Sandeep Bhagwati },
  Title = {Vexations of ephemerality.},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {161--166},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

A hierarchic diff algorith for collaborative music document editing.

Christopher Antila, Jeffrey Treviño, Gabriel Weaver

Abstract Bibtex

We describe an application of hierarchic diff to the collaborative editing of tree-based music representations, using Zhang and Shasha’s tree edit distance algorithm as implemented within the XUDiff tool. The edit distance between two trees is the minimum number of edit operations necessary to transform one tree into the other. We consider common operations on the score tree—deleting, changing, and appending tree nodes—to derive a minimal edit sequence, known as an edit script, and we compare the performance of the widely used Longest Common Subsequence algorithm against our approach. We conclude by summarizing implications for the design of collaborative music document software systems.

@inproceedings{Antila_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Christopher Antila and Jeffrey Treviño and Gabriel Weaver },
  Title = {A hierarchic diff algorith for collaborative music document editing.},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {167--170},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Establishing connectivity between the existing networked music notation packages Quintet.net, Decibel Score Player and MaxScore.

Stuart James, Cat Hope, Lindsay Vickery, Aaron Wyatt, Ben Carey, Xiao Fu, George Hajdu

Abstract Bibtex

In this paper we outline a collaboration where live internet-based and local collaboration between research groups/musicians from Decibel New Music Ensemble (Perth, Australia) and ZM (Hamburg, Germany), was facilitated by novel innovations in customised software solutions employed by both groups. The exchange was funded by the Deutscher Akademischer Austauschdienst and Universities Australia. Both groups were previously engaged in the research and performance of similar musical repertoire such as John Cage’s ‘Five’ (1988) and ‘Variations I — VIII’ (1958-67) among others, the performances of which utilise graphic, animated and extended traditional Western music notation. Preliminary steps were taken to achieve communication between the three existing network music notation packages, the Decibel ScorePlayer, MaxScore and quintet.net, facilitating a merging – and ultimately an extension – of notational approaches previously prescribed by each music notation package. In addition to the technical innovations required to achieve such a project, we consider the outcomes and future directions of the project, as well as their relevance for the wider contemporary music community.

@inproceedings{James_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Stuart James and Cat Hope and Lindsay Vickery and Aaron Wyatt and Ben Carey and Xiao Fu and George Hajdu },
  Title = {Establishing connectivity between the existing networked music notation packages Quintet.net, Decibel Score Player and MaxScore.},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {171--183},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Persiles avista Roma

Tomas Marco

Abstract Bibtex

“Persiles avista Roma” was commissioned as part of the commemorative events set to homage Cervantes on his 4th Centenary. The composer was inspired by one of the sonnets included in "Los trabajos de Persiles and Segismunda", which was the last novel written by Cervantes, posthumous published in 1617. “The composition is built as a formal dialogue between the structure of the sonnet - taken with a flexible perspective - and its musical expression. The music score is written for baritone and violin soloists which interact as a "duo concertante". The composition proposes a contemporary musical view of Cervantes text, which has an eternal life crystallised in a mythical present.

@inproceedings{Marco_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Tomas Marco },
  Title = {Persiles avista Roma},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {185--193},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Voice Prints

Helena Palma

Abstract Bibtex

Voice prints (VP) is a homage to our ancestors and the languages they used as tools to create and expand over large locations powerful civilisations. Where are our ancestors now? Have they disappeared? Those people and the locations they lived in are casted in infinite events created by our thoughts. We can hear the resonances of their voices in the roar of time. In VP the ancestors’ voices are articulated by the voice of a baritone and of a violin who melt their timbre in resonances of the words uttered by a distant father: harmonics 2, 3, 4, 5, 7, and 9 of a fundamental Bb1 tone. VP includes phonemes, words and sentences sung and spoken in Scythian, Greek, Celtiberian, Ubykh, Albanian, Catalan, English, Galician, German, Spanish. Music is set to fragments of poems by Espriu, Handke and Llamazares.

@inproceedings{Palma_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Helena Palma },
  Title = {Voice Prints},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {195--207},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Des pas sur l’invisible

Silvia Teles

Abstract Bibtex

In this work, written for clarinet or saxophone and their respective instrument families, the interpreter is confronted with an approach to musical notation that consists of an opening of the sound space and its filling in sound identity. This space is given by octave intervals which, by constituting polarizing sounds, form distinct planes and also by the different gestures associated with them. The performance should be the 'temporal path' imagined by the interpreter.

@inproceedings{Teles_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Silvia Teles },
  Title = {Des pas sur l’invisible},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {209--214},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Terraformation

Seth Shafer

Abstract Bibtex

This paper introduces my real-time notation (RTN) work Terraformation (2016-17) for violin or viola and computer. The piece uses a computer screen to display music notation that changes during the performance based on decisions made by both the musician and the computer. In this way, every performance is unique and unrepeatable. Program notes, performance directions, and two score excerpts from violinist Florian Vlashi's performance on May 25, 2017 at the Third International Conference on Technologies for Music Notation and Representation are included.

@inproceedings{Shafer_b_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Seth Shafer },
  Title = {Terraformation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {215--227},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

Homenaje a Cervantes

Richard Hoadley

Abstract Bibtex

This is a presentation of the dynamic score “Homenaje a Cervantes” (Homage to Cervantes) created for violin, computer and projections, originally commissioned for and first performed at the University of A Coruna, Spain in May 2017. The piece has been composed using the software packages SuperCollider and INSCORE; the violin part should be played live from a laptop screen or a projection. The texts used are the original Cervantes text, an English translation and a series of original poems created specially for this project by the poet Phil Terry.

@inproceedings{Hoadley_tenor2017,
  Address = {A Coru~{n}a, Spain},
  Author = { Richard Hoadley },
  Title = {Homenaje a Cervantes},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'17},
  Pages = {229-238},
  Year = {2017},
  Editor = {Helena Lopez Palma and Mike Solomon and Emiliana Tucci and Carmen Lage},
  Publisher = {Universidade da Coru~{n}a},
  ISBN = {978-84-9749-666-7}
}

2016

FULL TENOR'16 PROCEEDINGS

Bibtex | .bib

@book{tenor2016,
  Address = {Cambridge, UK},
  Title = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}

Real-Time Corpus-Based Concatenative Synthesis for Symbolic Notation

Daniele Ghisi and Carlos Agon

Abstract Bibtex

We introduce a collection of modules designed to segment, analyze, display and sequence symbolic scores in real-time. This mechanism, inspired from CataRT’s corpus-based concatenative synthesis, is implemented as a part of the dada library for Max, currently under development.

@inproceedings{Ghisi_tenor2016,
  Address = {Cambridge, UK},
  Author = { Daniele Ghisi and Carlos Agon },
  Title = {Real-Time Corpus-Based Concatenative Synthesis for Symbolic Notation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {1--7},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Tension ribbons: Quantifying and visualising tonal tension

Dorien Herremans and Elaine Chew

Abstract Bibtex

Tension is a complex multidimensional concept that is not easily quantified. This research proposes three methods for quantifying aspects of tonal tension based on the spiral array, a model for tonality. The cloud diameter measures the dispersion of clusters of notes in tonal space; the cloud momentum measures the movement of pitch sets in the spiral array; finally, tensile strain measures the distance between the local and global tonal context. The three methods are implemented in a system that displays the results as tension ribbons over the music score to allow for ease of interpretation. All three methods are extensively tested on data ranging from small snippets to phrases with the Tristan chord and larger sections from Beethoven and Schubert piano sonatas. They are further compared to results from an existing empirical experiment.

@inproceedings{Herremans_tenor2016,
  Address = {Cambridge, UK},
  Author = { Dorien Herremans and Elaine Chew },
  Title = {Tension ribbons: Quantifying and visualising tonal tension},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {8--18},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Hybrid Real/Mimetic Sound Works

Lindsay Vickery

Abstract Bibtex

In 2013 I began a project to construct a process allowing for data interchange between visual and sonic media: to create a continuum in which sound could be visualized and then resonified through by both live performers and digital means. A number of processes to aid this visualisation/sonification “ecosystem” were developed. Software was created to create scores based on sonic features of “field recordings” through spectral analysis by rendering the frequency of the strongest detected sinusoidal peak of a recording vertically and its timbral characteristics by luminance, hue and saturation on a scrolling score. Along similar principals a second process was developed to generate a realtime score using graphical symbols to represent detected accents in “found sound” speech recordings. In the other direction software was built to render greyscale images (including sonograms) as sound and a second iteration to generate audio from detected analysis parameters. The imperfections in the various transcription processes are intriguing in themselves as they throw into relief the distinctions between the various forms of representation and in particular the timescales in which they are perceived. The implied circularity of processes also opened the potential for re-interrogation of materials through repeated transmutation. This discussion explores these implications in the context of the analysis of field record-ings to generate visual representations that can be reson-ified using both performative (via notation) and machine (visual data-based) processes, to create hybrid re-al/mimetic sound works through the combination (and recombination) of the processes.

@inproceedings{Vickery_tenor2016,
  Address = {Cambridge, UK},
  Author = { Lindsay Vickery },
  Title = {Hybrid Real/Mimetic Sound Works},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {19--24},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Visualizing Music in its Entirety using Acoustic Features: Music Flowgram

Dasaem Jeong and Juhan Nam

Abstract Bibtex

In this paper, we present an automatic method for visualizing a music audio file from its beginning to end, especially for classical music. Our goal is developing an easy-to-use visualization method that is helpful for listeners and can be used for various kinds of classical music, even for complex orchestral music. To represent musical characteristic, the method uses audio features like volume, onset density, and auditory roughness, which describe loudness, tempo, and dissonance, respectively. These features are visually mapped into static two-dimensional graph, so that users can see how the music changes by time at a look. We have implemented the method with Web Audio API, and it works on recent version of web browsers like Chrome, Firefox, Safari, and Opera. Users can access to the visualization system on their web browser and make visualizations from their own music audio files. Two types of user tests were conducted to verify effects and usefulness of the visualization for classical music listeners. The result shows that it helps listeners to memorize and understand a structure of music, and to easily find a specific part of the music.

@inproceedings{Jeong_tenor2016,
  Address = {Cambridge, UK},
  Author = { Dasaem Jeong and Juhan Nam },
  Title = {Visualizing Music in its Entirety using Acoustic Features: Music Flowgram},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {25--32},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Swaralipi: A Framework for Transcribing and Rendering Indic Music Sheet

Chandan Misra, Tuhin Chakraborty, Anupam Basu and Baidurya Bhattacharya

Abstract Bibtex

Creating music in computer system through its music notations requires two primary components. The first one is the mechanisms to encode music notations of respective music genres and the other one is a framework to provide the look and feel of the music written like a published or handwritten music sheet. Popular music scorewriters like Finale, Sibelius, MuseScore can edit, render and playback music transcribed in Staff notation. Being vastly different from the Indic music system in grammar, notation symbols, tonic system and encoding style, the architecture used in the music software for western music cannot cater to the Indic music system. For this reason there is a dearth of such scorewriters for Indic music system which is rich with a variety of musical genres, each different from the others in their unique notation system and language for depicting their lyric. In this paper, we propose a new framework for transcribing and rendering Indic music sheets for different genres of Indic music in computer. This framework is designed to support all major Indic notation systems and Indic language scripts and is explained using three major notation systems and language scripts throughout the paper as a case study.

@inproceedings{Misra_tenor2016,
  Address = {Cambridge, UK},
  Author = { Chandan Misra and Tuhin Chakraborty and Anupam Basu and Baidurya Bhattacharya },
  Title = {Swaralipi: A Framework for Transcribing and Rendering Indic Music Sheet},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {33--43},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Notating the Non-Notateable: Digital Notation of Txalaparta Practice

Enrike Hurtado and Thor Magnusson

Abstract Bibtex

This paper explores notation practices related to the ancient Basque musical tradition of the txalaparta. It will firstly present the txalaparta practice, introduce the im-provisational rules of txalaparta playing, and discuss attempts in creating notation systems for the instrument. Due to the nature of txalaparta playing, Common West-ern Notation is not a suitable notation, and we will pre-sent the notation system we have developed as part of the Digital Txalaparta project. This system captures the key parts of playing and serves for both playback and a rich documentation of what players actually perform.

@inproceedings{Hurtado_tenor2016,
  Address = {Cambridge, UK},
  Author = { Enrike Hurtado and Thor Magnusson },
  Title = {Notating the Non-Notateable: Digital Notation of Txalaparta Practice},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {44--49},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

S-notation: A complete musical notation system for scratching and sample music derived from "Theory of Motions"

Alexander Sonnenfeld and Kjetil Falkenberg Hansen

Abstract Bibtex

In this paper, we present and discuss S-notation for sample-based music, and particularly for DJ scratching and turntablism. Sonnenfeld developed S-notation based on his Theory of Motion where scratch music is seen as constructions of concurrent musical gestures (motion parameters), and not only turntable actions. The detailed symbolic notation was inspired by traditional musical notation, and among its advantages it covers current musical needs, it can be read and played live in performance, it provides a tool for composers to convey musical ideas, it can be expanded towards new styles and techniques, and it is generalizable to other types of sample-based music. In addition to motion parameters, the new notation system involves an analysis of the sampled sound. Finally, S-notation is also applicable for documenting and for teaching situations.

@inproceedings{Sonnenfeld_tenor2016,
  Address = {Cambridge, UK},
  Author = { Alexander Sonnenfeld and Kjetil Falkenberg Hansen },
  Title = {S-notation: A complete musical notation system for scratching and sample music derived from "Theory of Motions"},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {50--57},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Pitchcircle3D: A Case Study in Live Notation for Interactive Music Performance

Tom Hall

Abstract Bibtex

Recent decades have seen the establishment of computer software live notations intended as music scores, affording new modes of interaction between composers, improvisers, performers and audience. This paper presents a live notations project situated within the research domains of algorithmic music composition, improvisation, performance and software interaction design. The software enables the presentation of live animated scores which display 2D and 3D pitch-space representations of note collections including a spiral helix and pitch-class clock. The software has been specifically engineered within an existing sound synthesis environment, SuperCollider, to produce tight integration between sound synthesis and live notation. In a performance context, the live notation is usually presented as both music score and visualisation to the performers and audience respectively. The case study considers the performances of two of the author's contrasting compositions utilising the software. The results thus far from the project demonstrate the ways in which the software can afford different models of algorithmic and improvised interaction between the composer, performers and the music itself. Also included is a summary of feedback from musicians who have used the software in public music performances over a number of years.

@inproceedings{Hall_tenor2016,
  Address = {Cambridge, UK},
  Author = { Tom Hall },
  Title = {Pitchcircle3D: A Case Study in Live Notation for Interactive Music Performance},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {58--64},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Performance Practice of Real-Time Notation

Seth Shafer

Abstract Bibtex

The primary distinction between real-time and non-real-time notation is the ability for the performer to know ahead of time the exact details of what they will be asked to perform. This paper address the myriad of performance practice issues encountered when the notation of a work loosens its bounds in the world of the fixed and knowable, and instead explores the realms of chance, spontaneity, and interactivity. Some of these issues include: the problem of rehearsal, the problem of ensemble synchronization, the extreme limits of sight reading, failure as a compositional device, new freedoms for the performer and composer, and the new opportunities offered by the ephemerality and multiplicity of real-time notation.

@inproceedings{Shafer_tenor2016,
  Address = {Cambridge, UK},
  Author = { Seth Shafer },
  Title = {Performance Practice of Real-Time Notation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {65--70},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Representing atypical music notation practices: An example with late 17th century music

Rodolfo Zitellini and Laurent Pugin

Abstract Bibtex

From the 17th century towards the first decades of the 18th century music notation slowly looses all influences from mensural music, becoming virtually identical to what we would consider common modern notation. But in these five decades of transformation composers did not just suddenly abandon older notation styles, but they were used alongside the ones that would become standard. Void notation, black notation and uncommon tempi were all mixed together. The scholar preparing modern editions of this music is normally forced to normalize all these atypical notations as many software applications do not support them natively. This paper exemplifies the flexibility of the encoding scheme proposed by the Music Encoding Initiative (MEI) and of Verovio, a visualisation library designed for it. The modular approach of these tools means that particular notation systems can be easily added whilst maintaining compatibility to other encoded notations.

@inproceedings{Zitellini_tenor2016,
  Address = {Cambridge, UK},
  Author = { Rodolfo Zitellini and Laurent Pugin },
  Title = {Representing atypical music notation practices: An example with late 17th century music},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {71--77},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

The Expressive Function in Wor Songs

Helena Palma

Abstract Bibtex

We study some musical and expressive features of traditional Wor vocal music, an ancestral gender of the Biaks (West Papua). A core aspect in Wor songs is the expression of wonder, which Biaks have developed into an Aesthetics of Surprise. We describe some key structural features in the pitch and time domain used as means to express such an aesthetics. We represent the acoustic and prosodic features encoding expressive content by means of an Expressive Function which contains expressive indices with internal structure. We propose an augmented expressive score for the transcription of unaccompanied Wor songs.

@inproceedings{Palma_tenor2016,
  Address = {Cambridge, UK},
  Author = { Helena Palma },
  Title = {The Expressive Function in Wor Songs},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {78--84},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Is There a Data Model in Music Notation?

Raphaël Fournier-S'niehotta, Philippe Rigaux and Nicolas Travers

Abstract Bibtex

Scores are structured objects, and we can therefore envisage operations that change the structure of a score, combine several scores, and produce new score instances from some pre-existing material. Current score encodings, however, are designed for rendering and exchange purposes, and cannot directly be exploited as instances of a clear data model supporting algebraic manipulations. We propose an approach that leverages a music content model hidden in score notation, and define a set of composable operations to derive new "scores" from a corpus of existing ones. We show that this approach supplies a high-level tool to express common, useful applications, can easily be implemented on top of standard components, and finally gives rise to interesting conceptual issues related to the modeling of music notation.

@inproceedings{Fournier_tenor2016,
  Address = {Cambridge, UK},
  Author = { Raphaël Fournier-S'niehotta and Philippe Rigaux and Nicolas Travers },
  Title = {Is There a Data Model in Music Notation?},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {85--91},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

The Ontology of Live Notations Through Assemblage Theory

David Kim-Boyle

Abstract Bibtex

This paper uses assemblage theory to help develop an ontological framework for better understanding live notation practice. Originally developed by Deleuze and Guattari across a range of theoretical writings, assemblage theory is more fully explicated in the work of Manuel de Landa in the more focused context of social ontology. This paper examines the basic concepts of assemblage theory such as material components, expressive capacities, and relations of exteriority and how they may pro-vide useful insights in the analysis of music which explores the creative potential of live notation. The temporal dynamics of non-linear musical forms are discussed and assemblage theory is shown to be a powerful tool for promoting a better understanding of how the various interactions between material and expressive components help catalyze the emergent properties of the assemblage and through it, the ontological identity of a live notation aesthetic practice.

@inproceedings{Kim-Boyle_tenor2016,
  Address = {Cambridge, UK},
  Author = { David Kim-Boyle },
  Title = {The Ontology of Live Notations Through Assemblage Theory},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {92--97},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

[Study no. 50][Notational Becoming][Speculations]

Ryan Ross Smith

Abstract Bibtex

The use of animation in contemporary notational practices has become increasingly prevalent over the last ten years, due in large part to the increased compositional activities throughout Europe, the United Kingdom, and North America, and in particular Iceland and Western Australia.1 The publication of several foundational texts,2 and the materialization of focused scholarly meetings3 and online consolidation projects4 have also contributed to the expansion of this growing field of animated notational practice. The range of compositional ideas repre- sented by these scores is vast, encompassing a wide va- riety of stylistic approaches and technological experimentation. While these ideas often demonstrate intriguing compositional directions, and the unique dynamic functionalities and visual characteristics of animated scores are clearly distinct from traditionally-fixed scores, it is the real-time generative processes of these scores that represent a shift in the very ontology of the musical score. In this paper I speculate on one possible framing for this ontological distinction by focusing on several attributes that, in combination, most explicitly demonstrate this distinction. These include the real-time, process-based qualities of generative animated notations, the openness that enables these procedural functionalities, the displacement of interpretive influence, and the timeliness of these processes in respect to the temporal relationship between generation, representation as notation, and sonic realization. A new work, Study no. 50, will be examined as a practical demonstration of these attributes, and will function as a jumping off point for a speculative discussion of the concept of Notational Becoming.

@inproceedings{Ross-Smith_tenor2016,
  Address = {Cambridge, UK},
  Author = { Ryan Ross Smith },
  Title = {[Study no. 50][Notational Becoming][Speculations]},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {98--104},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Autonomy, Control, and Notation in Interactive Music

K. Michael Fox

Abstract Bibtex

This paper proposes a conceptualization of notation for interactive musical environments. The notational approach describes the relationship between both human and non-human agents, instead of actions to be taken or sounds to be made. Of critical importance in contemporary networked culture is the degree to which technological devices and networks constrain (or control) the actions of their users. The author has developed a conception of interactivity and notational considerations which instead foreground the autonomous potential of participants and the computational systems. The author analyzes three case studies that demonstrate either a direct connection or a broader conceptual link to the described notational approach. The larger implication is a need for notational systems which do not constrain the identity of the users of interactive systems while also acknowledging and representing the agency of the systems themselves.

@inproceedings{Fox_tenor2016,
  Address = {Cambridge, UK},
  Author = { K. Michael Fox },
  Title = {Autonomy, Control, and Notation in Interactive Music},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {105--109},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Musical Instruments as Scores: A Hybrid Approach

Enrique Tomás

Abstract Bibtex

The development of new approaches to instrumentality during the decade of 1960 contributed to the dual perception of instruments as scores. For many performers, the instrument became the score of what they played. This artistic hybridization carries substantial questions about the nature of our scores and about the relationships among instruments, performers and musical works. This paper contextualizes the historical origins of this instrumental development within Drucker's theory of performative materiality. Then we examine the nature and notational scheme of this type of scores making use of the concept of "inherent score". Finally, through the analysis of two examples ("tangible scores" and "choreographic objects") and the notions of "affordance" and "constraint", a compositional framework for shaping the inherent instrument score is presented.

@inproceedings{Tomas_tenor2016,
  Address = {Cambridge, UK},
  Author = { Enrique Tomás },
  Title = {Musical Instruments as Scores: A Hybrid Approach},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {110--120},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Musicking the Body Electric. The "body:suit:score" as a polyvalent score interface for situational scores.

Sandeep Bhagwati, Marcello Giordano, Joanna Berzowska, Alex Bachmayr, Julian Stein, Joseph Browne, Felix Del Tredici, Deborah Egloff, John Sullivan, Marcelo Wanderley and Isabelle Cossette

Abstract Bibtex

Situational scores, in this paper, are defined as scores that deliver time- and context-sensitive score information to musicians at the moment when it becomes relevant. Mnemonic (rule/style-based) scores are the oldest score models of this type. Lately, animated, interactive, locative scores have added new options to situative scoring. The body:suit:score is an interface currently developed in collaboration of four labs at Concordia and McGill Universities in Montréal - an interface that will allow the musical use of all four types of situational score. Musicians are clad in a body-hugging suit with embedded technology - this suit becomes their score interface. Ultimately intended to enable ensembles to move through performance spaces unencumbered by visual scores and their specific locations, the project currently enters its second year of research-creation. The paper discusses the closely intertwined technological, ergonomic, music-psychology based and artistic decisions that have led to a first bodysuit prototype - a vibrotactile suit for a solo musician. It will also discuss the so-far three etude compositions by Sandeep Bhagwati and Julian Klein for this prototype, and their widely divergent conceptual approaches to an artistic use of the body:suit:score interface. Finally, the paper discusses next steps and emergent problems and opportunities, both technological and artistic.

@inproceedings{Bhagwati_tenor2016,
  Address = {Cambridge, UK},
  Author = { Sandeep Bhagwati and Marcello Giordano and Joanna Berzowska and Alex Bachmayr and Julian Stein and Joseph Browne and Felix Del Tredici and Deborah Egloff and John Sullivan and Marcelo Wanderley and Isabelle Cossette },
  Title = {Musicking the Body Electric. The "body:suit:score" as a polyvalent score interface for situational scores.},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {121--126},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Processing of symbolic music notation via multimodal performance data: Brian Ferneyhough’s Lemma-Icon-Epigram for solo piano, phase 1

Pavlos Antoniadis and Frédéric Bevilacqua

Abstract Bibtex

In the “Performance Notes” to his formidable solo piano work Lemma-Icon-Epigram, British composer Brian Ferneyhough proposes a top-down learning strategy: Its first phase would consist in an “overview of gestural patterning”, before delving into the notorious rhythmic intricacies of this most complex notation. In the current paper, we propose a methodology for inferring such patterning from multimodal performance data. In particular, we have a) conducted qualitative analysis of the correlations between the performance data -an audio recording, 12-axis acceleration and gyroscope signals captured by inertial sensors, kinect video and MIDI- and the implicit annotation of pitch during a ‘sight-reading’ performance; b) observed and documented the correspondence between patterns in the gestural signals and patterns in the score annotations and c) produced joint tablature-like representations, which inscribe the gestural patterning back into the notation, while reducing the pitch material by 70-80% of the original. In addition, we have incorporated this representation in videos and interactive multimodal tablatures using the INScore. Our work is drawing from recent studies in the fields of gesture modeling and interaction. It is extending the authors’ previous work on an embodied model of navigation of complex notation and on an application for offline and real-time gestural control of complex notation by the name GesTCom. Future prospects include the probabilistic modeling of gesture-to-notation mappings, towards the design of interactive systems which learn along with the performer while cutting through textual complexity.

@inproceedings{Antoniadis_tenor2016,
  Address = {Cambridge, UK},
  Author = { Pavlos Antoniadis and Frédéric Bevilacqua },
  Title = {Processing of symbolic music notation via multimodal performance data: Brian Ferneyhough’s Lemma-Icon-Epigram for solo piano, phase 1},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {127--136},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

INScore expressions to compose symbolic scores

Gabriel Lepetit-Aimon, Dominique Fober, Yann Orlarey and Stéphane Letz

Abstract Bibtex

INScore is an environment for the design of augmented interactive music scores turned to non-conventional use of music notation. The environment allows arbitrary graphic resources to be used and composed for the music representation. It supports symbolic music notation, described using Guido Music Notation or MusicXML formats. The environment has been extended to provided score level composition using a set of operators that consistently take scores as arguments to compute new scores as output. INScore API supports now score expressions both at OSC and at scripting levels. The work is based on a previous research that solved the issues of the notation consistency across scores composition. This paper focuses on the language level and explains the different strategies to evaluate score expressions.

@inproceedings{Lepetit-Aimon_tenor2016,
  Address = {Cambridge, UK},
  Author = { Gabriel Lepetit-Aimon and Dominique Fober and Yann Orlarey and Stéphane Letz },
  Title = {INScore expressions to compose symbolic scores},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {137--143},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

OMLILY: Filling the notational gap between composition and performance

Karim Haddad and Carlos Agon

Abstract Bibtex

This paper describes the design, the development, the usage, limitations and prospect of future development of Omlily, an OpenMusic library, for editing scores with Lilypond, using OM musical editors.

@inproceedings{Haddad_tenor2016,
  Address = {Cambridge, UK},
  Author = { Karim Haddad and Carlos Agon },
  Title = {OMLILY: Filling the notational gap between composition and performance},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {144--150},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Netscore: an Image Server/Client Package for Transmitting Notated Music to Browser and Virtual Reality Interfaces

Benedict Carey and Georg Hajdu

Abstract Bibtex

NetScore is an extension of the existing MaxScore pack-age (Hajdu, Didkovsky) which adds new functionality for the rapid transmission and display of music notation on remote devices through standard modern browsers with WebSocket support. This was seen as a necessary development for MaxScore due to the ubiquity of tablets and other mobile devices, among other advantages for the user, and future applications of the software. We chose a server based solution executed in Java using the Jetty library for both portability between different platforms, and scalability. Novel applications facilitated by NetScore include transmitting scores generated in Max/MSP into virtual reality interfaces and more convenient performance/ rehearsal of real-time generated music, whereby devices commonly on hand such as smartphones, tablets and laptops are used as e-scores without requiring the installation of additional software.

@inproceedings{Carey_tenor2016,
  Address = {Cambridge, UK},
  Author = { Benedict Carey and Georg Hajdu },
  Title = {Netscore: an Image Server/Client Package for Transmitting Notated Music to Browser and Virtual Reality Interfaces},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {151--156},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

FEATUR.UX: exploiting multitrack information for artistic visualization

Ireti Olowe, Mathieu Barthet, Mick Grierson and Nick Bryan-Kinns

Abstract Bibtex

FEATUR.UX (Feature - ous) is an audio visualization tool, currently in the process of development, which proposes to introduce a new approach to sound visualization using pre-mixed, independent multitracks and audio feature extraction. Sound visualization is usually performed using a final mix, mono or stereo track of audio. Audio feature extraction is commonly used in the field of music information retrieval to create search and recommendation systems for large music databases rather than generating live visualizations. Visualizing multitrack audio circumvents problems related to the source separation of mixed audio signals and presents an opportunity to examine interdependent relationships within and between separate streams of music. This novel approach to sound visualization aims to provide an enhanced accession to the listening experience corresponding to this use case that employs non-tonal, non-notated forms of electronic music. Findings from prior research studies focused on live performance and preliminary quantitative results from a user survey have provided the basis from which to develop a prototype that will be used throughout an iterative design study to examine the impact of using multitrack audio and audio feature extraction on sound visualization practice.

@inproceedings{Olowe_tenor2016,
  Address = {Cambridge, UK},
  Author = { Ireti Olowe and Mathieu Barthet and Mick Grierson and Nick Bryan-Kinns },
  Title = {FEATUR.UX: exploiting multitrack information for artistic visualization},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {157--166},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

A robust algebraic framework for high-level music programming

David Janin

Abstract Bibtex

In this paper, we present a new algebraic model for music programming : tiled musical graphs. It is based on the idea that the definition of musical objects~: what they are, and the synchronization of these objects~: when they should be played, are two orthogonal aspects of music programming that should be kept separate although handled in a combined way. This leads to the definition of an algebra of music objects~: tiled music graphs, which can be combined by a single operator : the tiled product, that is neither sequential nor parallel but both. From a mathematical point of view, this algebra is known to be especially robust since it is an inverse monoid. Various operators such as the reset and the coreset projections derive from these algebra and turned out to be fairly useful for music modeling. From a programming point of view, it provide a high level domain specific language (DSL) that is both hierarchical and modular. This language is currently under implementation in the functional programming language Haskell. From an applicative point of view, various music modeling examples are provided to show how notes, chords, melodies, musical meters and various kind of interpretation aspects can easily and robustly be encoded in this formalism.

@inproceedings{Janin_tenor2016,
  Address = {Cambridge, UK},
  Author = { David Janin },
  Title = {A robust algebraic framework for high-level music programming},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {167--175},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

The Possibilities of a Line: Marking the Glissando in Music

Cat Hope and Michael Terren

Abstract Bibtex

Despite the prevalence of the term "line" in musicology to suggest a trajectory or contour of a melody, these do not embody the line in the Euclidean sense of the word, due to the striated, stepwise nature of pitches in the chromatic scale in traditional harmonic music. The glissando, however, embodies this literal and smooth line without fragmentation and has become a way to align music with other disciplines such as architecture, mathematics and physics. In a more figurative sense, the glissando has been used in a mimetic capacity to signify an irrational, metaphysical otherness. From modernist stochasticism to science fiction film scores, the glissando has a dynamic and complex relationship with representation.
Glissandi explore ideas of sonic trace, surface-ness and stasis. The notation of glissandi, in traditional Western and graphical notation as well as spectrographic visualisation, is presented as a line, its horizontal axis being a measure of time, and its vertical axis being a measure of pitch. This “pitch-time space” enables the consideration of the line as a sonic trace—of motion, gesture or time itself. This also permits the conceptualisation of the line as a surface.
Some glissandi also tend to operate in structural stasis, working against the glissando's function as a sonic trace, thus the glissando-as-stasis, especially as related to drone music, is explored. Deriving inspiration from works by composers, Iannis Xeankis, James Tenney and Giacinto Scelsi, compositional attempts to combine the nature of glissando with drone in the author’s own work are de-scribed, providing an examination of examples of the way glissandi and related concepts can be notated formal-ly, rather than decoratively, in musical works.

@inproceedings{Hope_tenor2016,
  Address = {Cambridge, UK},
  Author = { Cat Hope and Michael Terren },
  Title = {The Possibilities of a Line: Marking the Glissando in Music},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {176--180},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Resurrecting a Dinosaur - The Adaptation of Clarence Barlow's Legacy Software Autobusk

Georg Hajdu

Abstract Bibtex

This paper aims at describing efforts to conserve and further develop the legacy real-time generative music program AUTOBUSK by Clarence Barlow. We present a case study demonstrating that a simple port of 30+ year old code may not suffice to infuse new life into a project that suffered from the abandonment of the hardware it was developed on. In the process of resurrecting this dinosaur, AUTOBUSK was entirely redesigned for the popular music software environments Max and Ableton Live (via Max for Live) and renamed DJster. It comes in several incarnations, the most recent ones being DJster Autobus for Ableton Live, a device for real-time event generation and DJster Autobus Scorepion, a plugin for the MaxScore Editor. These incarnations take advantage of being embedded in current environments running on modern operating systems and have since acquired some new and useful features. As AUTOBUSK/DJster is based on universal musical principles, which Barlow formalized during the 1970’s while working on his generative piano piece Çoǧluotobüsişletmesi, its algorithms are of general applicability for composers and performers working in diverse fields such as microtonality, interactive installations and/or film music. It has therefore inspired me to lay the foundations of a shorthand notation, which we will discuss in the last section.

@inproceedings{Hajdu_tenor2016,
  Address = {Cambridge, UK},
  Author = { Georg Hajdu },
  Title = {Resurrecting a Dinosaur - The Adaptation of Clarence Barlow's Legacy Software Autobusk},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {181--186},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Hexaphonic Guitar Transcription and Visualization

Iñigo Angulo, Sergio Giraldo and Rafael Ramirez

Abstract Bibtex

Music representation has been a widely researched topic through centuries. Transcription of music through the conventional notation system has dominated the field, for the best part of the last centuries. However, this notational system often falls short of communicating the essence of music to the masses, especially to the people with no music training. Advances in signal processing and computer science over the last few decades have bridged this gap to an extent, but conveying the meaning of music remains a challenging research field. Music visualization is one such bridge, which we explore in this paper. This paper presents an approach to visually represent music produced by a guitar. To achieve this, hexaphonic guitar processing is carried out (i.e. processing each of the six strings as an independent monophonic sound source). Once this information is obtained, different approaches for representing it visually are explored. As a final result, a system is proposed to enrich the musical listening experience, by extending the perceived auditory sensations to include visual stimuli.

@inproceedings{Angulo_tenor2016,
  Address = {Cambridge, UK},
  Author = { Iñigo Angulo and Sergio Giraldo and Rafael Ramirez },
  Title = {Hexaphonic Guitar Transcription and Visualization},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {187--192},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Designing Dynamic Networked Scores to Enhance the Experience of Ensemble Music Making

Alice Eldridge, Ed Hughes and Chris Kiefer

Abstract Bibtex

This paper describes the impetus for, and design and evaluation of, a pilot project examining the potential for digital, dynamic networked scores to enhance the experience of ensemble music making. We present a new networked score presentation system, and describe how it has evolved through a participatory design approach. Feedback has highlighted key issues concerning synchronisation between conductor, performers and notation, and autonomy and adaptation for performers; we discuss these key points and present our future plans for the project.

@inproceedings{Eldridge_tenor2016,
  Address = {Cambridge, UK},
  Author = { Alice Eldridge and Ed Hughes and Chris Kiefer },
  Title = {Designing Dynamic Networked Scores to Enhance the Experience of Ensemble Music Making},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {193--199},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Conversion from Standard MIDI Files to Vertical Line Notation Scores and Automatic Decision of Piano Fingering for Beginners

Yasuyuki Saito, Eita Nakamura, Riku Sato, Suguru Agata, Yuu Igarashi and Shigeki Sagayama

Abstract Bibtex

This paper introduces "vertical line notation'' (VLN) of music for piano beginners, a conversion method from standard MIDI files to VLN scores, and an algorithm of automatic decision of piano fingering for it. Currently, staff notation is widely used for various instruments including piano. However, this notation often appears hard to beginners. On the other hand, VLN is intuitive and easy to understand for piano beginners since it graphically indicates the time order of notes as well as fingering. With the VLN score, piano beginners can make smooth progress with correct fingering. VLN scores are expected to help piano beginners make smooth progress with correct fingering. An issue with VLN is that it is currently created by hand with a spreadsheet software. It would be desirable to automatically produce VLN scores from existing digital scores. In this paper, we propose a method of converting standard MIDI files into VLN scores and an algorithm of automatic fingering decision for piano beginners. Some examples of practical and successful use of VLN scores are shown.

@inproceedings{Saito_tenor2016,
  Address = {Cambridge, UK},
  Author = { Yasuyuki Saito and Eita Nakamura and Riku Sato and Suguru Agata and Yuu Igarashi and Shigeki Sagayama },
  Title = {Conversion from Standard MIDI Files to Vertical Line Notation Scores and Automatic Decision of Piano Fingering for Beginners},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {200--211},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Taxonomy and Notation of Spatialization

Emile Ellberger, Germán Toro Pérez, Linda Cavaliero, Johannes Schuett, Basile Zimmermann and Giorgio Zoia

Abstract Bibtex

The SSMN Spatial Taxonomy and its symbols libraries, which are the corner stone of the Spatialization Symbolic Music Notation (SSMN) project, emanates from research into composers’ attitudes in this domain. It was conceived as the basis for the development of dedicated notation and rendering tools within the SSMN project. The taxonomy is a systematic representation of all relevant features necessary to specify sound spatiality: shape and acoustic quality of the space, structure, position and movement of sound sources. It is based on single descriptors that can be combined in order to define complex spatial configurations. Descriptors can be transformed locally and globally and can be the object of structural and behavioral operations. The SSMN Spatial Taxonomy proposes a corresponding graphic symbolic representation of descriptors, operations and other functional elements facilitating the communication of creative ideas to performers and technical assistants. This paper focuses on the presentation of the taxonomy and the symbols. Additionally it describes the workflow proposed for using symbols inside a notation software prototype developed within the project. Finally, further aspects concerning the actual and future developments of SSMN are mentioned.

@inproceedings{Ellberger_tenor2016,
  Address = {Cambridge, UK},
  Author = { Emile Ellberger and Germán Toro Pérez and Linda Cavaliero and Johannes Schuett and Basile Zimmermann and Giorgio Zoia },
  Title = {Taxonomy and Notation of Spatialization},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {212--219},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Music Analysis Through Visualization

Jia Li

Abstract Bibtex

In this paper analytic visualizations are used to selectively highlight salient musical features in four modern compositions, focusing on micro or macro structures: from motivic pitch contour to large-scale form. At a glance these visualizations allow a quick grasp of the structure and assist listeners to make connections between local features and global trends. Textures obscured by musical notation become more apparent when displayed in a graphical format, such as broad registral shifts, polyphonic streaming, as well as interplay between instruments. Pitch, timbre and voicing are plotted against time to show large-scale patterns that would otherwise be difficult to recognize in a musical score or compare between different works. Music analysis through compositional data visualization not only makes sense to musicians but also to non-musicians, facilitating collaboration and exchange with artists and technicians in other media.

@inproceedings{Li_tenor2016,
  Address = {Cambridge, UK},
  Author = { Jia Li },
  Title = {Music Analysis Through Visualization},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {220--225},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Notation as Temporal Instrument

Eric Maestri

Abstract Bibtex

In this paper the author proposes a descriptive musicological framework built on the notion of notation as temporal instrument in today's context of electronic music. The principal goal is to discuss a research categorization of musical notation that consider the performative character of musical writing in electronic music performance. In the intentions of the author, this framework could resume the multiple enhancement of the temporal dimension of notation implied by the new means of performance in electronic music.

@inproceedings{Maestri_tenor2016,
  Address = {Cambridge, UK},
  Author = { Eric Maestri },
  Title = {Notation as Temporal Instrument},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {226--229},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

Visual Confusion in Piano Notation

Marion Wood

Abstract Bibtex

This series of Reaction Time experiments investigates how quickly notes can be read from a screen and immediately executed on a MIDI keyboard. This makes it possible to study pitch reading and motor coordination in considerable detail away from the customary confounds of rhythm reading or pulse entrainment. The first experiment found that reaction times were slower in extreme keys (3#, 4#, 3b, 4b), even for very experienced sightreaders, a large effect of clef in most individuals, and other results suggesting that, in this simple paradigm at least, reading notation presents more of a difficulty to execution than motor coordination. A second experiment found, in addition, an effect of order in which the notes were presented. A clarified form of notation was devised that disambiguates visual confusion across key signatures, and to some extent across clefs. Initial results from an experiment to contrast traditional noteheads with the clearer ones found substantial improvements in both Reaction Time and accuracy for the clarified notation. The possible applications of improved notation to the wider field of piano playing are discussed.

@inproceedings{Wood_tenor2016,
  Address = {Cambridge, UK},
  Author = { Marion Wood },
  Title = {Visual Confusion in Piano Notation},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {230--239},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

From Transcription to Signal Representation: Pitch, Rhythm and Performance

Marie Tahon and Pierre-Eugène Sitchet

Abstract Bibtex

Musical transcription is a real challenge, moreover in a folk music context. Signal visualization tools could be of interest for such music. The present paper is a comparison of a musical transcription and two signal representations (pitch and rhythm) applied to a song from the Gwoka repertoire. The study aims at finding similar elements and differences on pitch, rhythm and performance features in both the transcription and the signal visualization. Signal visualization is founded on vowel segmentation, and extraction of pitch and duration information. On the one hand transcription gives general characteristics on the music (harmony, tonality and rhythmic structure) and on the other hand, signal visualization gives performance-related characteristics. The main conclusion is that both approaches are of great interest for understanding such a music.

@inproceedings{Tahon_tenor2016,
  Address = {Cambridge, UK},
  Author = { Marie Tahon and Pierre-Eugène Sitchet },
  Title = {From Transcription to Signal Representation: Pitch, Rhythm and Performance},
  Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
  Pages = {240--245},
  Year = {2016},
  Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
  Publisher = {Anglia Ruskin University},
  ISBN = {978-0-9931461-1-4}
}

2015

FULL TENOR'15 PROCEEDINGS

Bibtex | .bib

@book{tenor2015,
  Address = {Paris, France},
  Title = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {Institut de Recherche en Musicologie, IReMus},
  ISBN = {978-2-9552905-0-7}

LEADSHEETJS: A Javascript Library for Online Lead Sheet Edition

Daniel Martín, Timotée Neullas and François Pachet

Abstract Bibtex

Lead sheets are routinely used in many genres of popular music. Lead sheets are music scores consisting of a melody and a chord grid. With the increase of online and portable music applications, the need for easily embeddable, adaptable and extensible lead sheet editing tools is pressing. We introduce LeadsheetJS, a javascript library for visualizing, editing and rendering lead sheets on multiple devices. LeadsheetJS provides lead sheet edition as well as support for extensions such as score augmentation and peer feedback. LeadsheetJS is a client-based component that can be embedded from arbitrary third-party websites. We describe the main design aspects of LeadsheetJS and some applications in online computer-aided composition tools.

@inproceedings{Martin_tenor2015,
  Address = {Paris, France},
  Author = { Daniel Martín and Timotée Neullas and François Pachet },
  Title = {LEADSHEETJS: A Javascript Library for Online Lead Sheet Edition},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {1--10},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Bigram Editor: a score editor for the Bigram Notation

Andres Perez-Lopez, Pep Alcantara-Noalles and Bertrand Kientz

Abstract Bibtex

The Bigram Notation is an alternative approach to musical notation, based on the chromatic nature of Western music. As observed historically with alternative notation systems, their spread and consolidation is based on the existence of complementary and supportive tools, as ideosyncratic instruments and specific written material. Accordingly, we present the binary keyboards and the Bigram Editor, a graphical bigram score editor with automatic transcription and reproduction capabilities

@inproceedings{Perez-Lopez_tenor2015,
  Address = {Paris, France},
  Author = { Andres Perez-Lopez and Pep Alcantara-Noalles and Bertrand Kientz },
  Title = {Bigram Editor: a score editor for the Bigram Notation},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {11--17},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Expressive Quantization of Complex Rhythmic Structures for Automatic Music Transcription

Mauricio Rodriguez

Abstract Bibtex

Two quantization models for ‘expressive’ rendering of complex rhythmic patterns are discussed. A multi-nesting quantizer captures expressivity by allowing fine-grained/high-quality resolution, thus covering the automatic transcription of a wide range of rhythmic configurations, yielding from simple to rather complex music notations. A look-up table quantizer is discussed as another model to attain expressivity and musical consistency; input is quantized by comparison of 'rhythmic similarity' from a user-defined data-set or look-up 'dictionary'. Both quantizers are presented as computing assisting tools to facilitate the transcription of rhythmic structures into the symbolic domain (i.e. music notation).

@inproceedings{Rodriguez_tenor2015,
  Address = {Paris, France},
  Author = { Mauricio Rodriguez },
  Title = {Expressive Quantization of Complex Rhythmic Structures for Automatic Music Transcription},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {18--22},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Computer-aided Melody Note Transcription Using the Tony Software: Accuracy and Efficiency

Matthias Mauch, Chris Cannam, Rachel Bittner, George Fazekas, Justin Salamon, Jiajie Dai, Juan Bello and Simon Dixon

Abstract Bibtex

We present Tony, a software tool for the interactive evaluation of melodies from monophonic audio recordings, and evaluate its usability and the accuracy of its note extraction method. The scientific study of acoustic performances of melodies, whether sung or played, requires the accurate transcription of notes and pitches. To achieve the desired transcription accuracy for a particular application, researchers manually correct results obtained by automatic methods. Tony is an interactive tool directly aimed at making this correction task efficient. It provides (a) state-of-the art algorithms for pitch and note estimation, (b) visual and auditory feedback for easy error-spotting, (c) an intelligent graphical user interface through which the user can rapidly correct estimation errors, d) extensive export functions enabling further processing in other applications. We show that Tony's built in automatic note transcription method compares favorably against existing tools. We report how long it takes to annotate recordings on a set of 96 recordings and study the effect of piece, the number of edits made and the annotator's increasing mastery of the software. Tony is Open Source software, with source code and compiled binaries for Windows and Mac OS X available from https://code.soundsoftware.ac.uk/projects/tony/.

@inproceedings{Mauch_tenor2015,
  Address = {Paris, France},
  Author = { Matthias Mauch and Chris Cannam and Rachel Bittner and George Fazekas and Justin Salamon and Jiajie Dai and Juan Bello and Simon Dixon },
  Title = {Computer-aided Melody Note Transcription Using the Tony Software: Accuracy and Efficiency},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {23--30},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Understanding Animated Notation

Christian Fischer

Abstract Bibtex

Alternative notation approaches become more and more popular. Animated notation is one of them. Mainly because it seems easy to apply. On the other hand, practice shows that classically trained musicians, composers and musicologists tend to reject this kind of notation. Furthermore some musical performances based on animated notation should face the question whether a regular notation would not have been more efficient. Overall there is still a lack of knowledge and some misconceptions when it comes to animated notation and its practical application. A brief look into the development of animated notation, examples of actual fields of application and especially an examination of the visual communication process and the design of animated scores will shed a little light into the darkness.

@inproceedings{Fischer_tenor2015,
  Address = {Paris, France},
  Author = { Christian Fischer },
  Title = {Understanding Animated Notation},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {31--38},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

An Atomic Approach to Animated Music Notation

Ryan Ross Smith

Abstract Bibtex

Since the turn of the century, and in particular the last 5 years, the discourse surrounding dynamic scoring techniques and practices has increased dramatically, while leading to an increasingly disparate terminological melee. With an awareness of what implications exist in the premature analysis and theorization of an emerging field of practice, the author argues that in order to further develop a taxonomy of dynamic scoring techniques and practices, it may be useful to take a reductionist approach toward defining the various low-level elements of dynamic scoring, in the case of this paper those elements that features prominently in Animated Music Notation [AMN]. By suggesting a set of low-level elements, and isolating the actualized indicators of contact and intersection as the primary functional components of AMN, the author will propose a working definition of AMN supported by examples drawn from the author’s work and others. This definition is not intended to satisfy the broad range of dynamic scoring techniques that implement AMN, but to highlight prevalent methodologies, and to point toward the extension of existing taxonomies, specifically regard-ing their respective global functionalities.

@inproceedings{RSmith_tenor2015,
  Address = {Paris, France},
  Author = { Ryan Ross Smith },
  Title = {An Atomic Approach to Animated Music Notation},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {39--47},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

SEMAPHORE: Cross-Domain Expressive Mapping with Live Notation

Richard Hoadley

Abstract Bibtex

This paper describes research, investigations, creative experiments and performances undertaken by the author in collaboration with practitioners in different creative and performance domains. The research focuses on the translation of expression between these domains and its implementation using technology. This paper focuses primarily on the role of notation in this process. The domains involved include music (audio and notation), movement (dance) and text (poetry). The data arising from performers’ movements are collected and investigated; consideration is given to the use of image and graphics enabling elementary algorithmically generated dance notation.

@inproceedings{Hoadley_tenor2015,
  Address = {Paris, France},
  Author = { Richard Hoadley },
  Title = {SEMAPHORE: Cross-Domain Expressive Mapping with Live Notation},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {48--57},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

The DECIBEL Scoreplayer - A Digital Tool for Reading Graphic Notation

Cat Hope, Lindsay Vickery, Aaron Wyatt and Stuart James

Abstract Bibtex

These implementations are taken to be a part of the creative process. This research is about creating and investigating stimulating experiences where connections between one domain and the other are perceivable and where this connection itself provides an aesthetic experience. They are not intended to be fixed and permanent (although may remain so for the duration of a composition). The research is about creating dynamic environments, not musical instruments or general purpose tools.

@inproceedings{Hope_tenor2015,
  Address = {Paris, France},
  Author = { Cat Hope and Lindsay Vickery and Aaron Wyatt and Stuart James },
  Title = {The DECIBEL Scoreplayer - A Digital Tool for Reading Graphic Notation},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {58--69},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Spectromorphological Notation: Exploring the Uses of Timbral Visualisations in Ethnomusicological Works

Hassan Abdullah Mohd and Andrew Blackburn

Abstract Bibtex

Ethnomusicologists often face problem in precisely de-scribing characteristic of a sound recorded in the field-work. Written explanation normally will use the meta-phoric words to represent the timbral characteristic of a sound produced by ethnic musical instruments. But to what extend the reader will understand and perceive the sound based on the writer explanation? This study will explore all the possibilities of using timbral visualization in recognizing the Malaysian traditional musical instru-ments. We introduce an instrument recognition process in solo recordings of a set of Malay traditional instruments (gedombak), which yields a high recognition rate. A large sound profile is used in order to encompass the different sound characteristic of each instrument and evaluate the generalization abilities of the recognition process.

@inproceedings{Mohd_tenor2015,
  Address = {Paris, France},
  Author = { Hassan Abdullah Mohd and Andrew Blackburn },
  Title = {Spectromorphological Notation: Exploring the Uses of Timbral Visualisations in Ethnomusicological Works},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {70--73},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

denm (dynamic environmental notation for music): Introducing a Performance-Centric Musical Interface

James Bean

Abstract Bibtex

denm (dynamic environmental notation for music) is an automatic notation renderer written for tablet computers in the Swift language and the Cocoa Touch Frameworks. denm is a performance-centric notation environment with many tools built into an interactive graphical representation of music. These tools, for both individual- and group-rehearsal contexts, invite multi-dimensional learning strategies to performing the complex musics written today. There are many excellent tools currently available that automatically generate musical scores, but the focus of these tools is often towards the compositional and/or theoretical end of the musical process. denm focuses its efforts on the performance end of the process, allowing performers to interact directly with the musical notation. This paper describes the impetus for the denm project, the current state of its development, and areas of continued implementation and exploration.

@inproceedings{Bean_tenor2015,
  Address = {Paris, France},
  Author = { James Bean },
  Title = {denm (dynamic environmental notation for music): Introducing a Performance-Centric Musical Interface},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {74--80},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

OSSIA: towards a unified interface for scoring time and interaction

Jean-Michaël Celerier, Pascal Baltazar, Clément Bossut, Nicolas Vuaille, Jean-Michel Couturier and Myriam Desainte-Catherine

Abstract Bibtex

The theory of interactive scores addresses the writing and execution of temporal constraints between musical objects, with the ability to describe the use of interactivity in the scores. In this paper, a notation for the use of conditional branching in interactive scores will be introduced. It is based on a high level formalism for the authoring of interactive scores developed during the course of the OSSIA research project. This formalism is meant to be at the same time easily manipulated by composers, and translatable to multiple formal methods used in interactive scores like Petri nets and timed automaton. An application programming interface that allows the interactive scores to be embedded in other software and the authoring software, i-score, will be presented.

@inproceedings{Celerier_tenor2015,
  Address = {Paris, France},
  Author = { Jean-Michaël Celerier and Pascal Baltazar and Clément Bossut and Nicolas Vuaille and Jean-Michel Couturier and Myriam Desainte-Catherine },
  Title = {OSSIA: towards a unified interface for scoring time and interaction},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {81--90},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

A Sign to write Acousmatic Scores

Jean-Louis Di Santo

Abstract Bibtex

This paper aims at describing an approach meant to build a sign adapted to acousmatic music and based on reduced listening. The sign, to be efficient, must obey to a certain number of requisits: precision, ergonomy, relevance... It must be both easy to use and able to create relations between sounds. A simple description of their qualities is not enough: it must be able to create or analyse sound compositions and structures, such as instrumental scores. To fulfill this purpose, it must be able to give each sound a value, in a saussurian meaning of the word. I will try to show the genealogy of my sign, how I took elements of reflexion from musical knowledge, linguistics, semiotics and aesthetics. From there I deduced the concept of minimal unit of sound applied to electroacoustic music and I created a sign combining symbols to decribe its features. I'll show how I have reorganised sound paramaters described by Schaeffer and how this sign works. At last, I will show the possibilities of writing scores sound by sound and I'll show two kinds of analysis: the analysis of a pure acousmatic work from a formal point of view and the analysis of a work for tape and instruments both from a formal and a symbolic point of view.

@inproceedings{DiSanto_tenor2015,
  Address = {Paris, France},
  Author = { Jean-Louis Di Santo },
  Title = {A Sign to write Acousmatic Scores},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {91--97},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

A Paradigm for Scoring Spatialization Notation

Emile Ellberger, Germán Toro-Perez, Johannes Schuett, Linda Cavaliero and Giorgio Zoia

Abstract Bibtex

SSMN intends to develop a conceptual framework and a tool set that allows composers to integrate spatialization in musical notation from the onset of the creation process. As the composition takes form and graphic symbols ex-pressing spatialization is introduced into the score, instant audio rendering provides feedback within a surround sound configuration. In parallel, SSMN helps interpreters and audio engineers to learn and master scores that con-tain complex instructions of motion in space easily re-cognizable both in printed and animated electronic for-mat. At first a SSMN Spatial Taxonomy was established to identify key motion in space possibilities within musi-cal context; consequently, a collection of SSMN Symbols has been designed and implemented in a software library of graphical objects within MuseScoreSSMN, a dedicated editor that has been developed to allow interactive use of this library along with CWMN. In order to bridge the gap between visual elements and audio perception, an SSMN-Rendering-Engine application is at the heart of OSC inter-application communication strategies allowing the use of DAW and user-defined programming envi-ronments along with MuseScoreSSMN. A prototype has been prepared and tested by a user group consisting of composers and performers. Further research shall address other user cases integrating electroacoustic paradigms.

@inproceedings{Ellberger_tenor2015,
  Address = {Paris, France},
  Author = { Emile Ellberger and Germán Toro-Perez and Johannes Schuett and Linda Cavaliero and Giorgio Zoia },
  Title = {A Paradigm for Scoring Spatialization Notation},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {98--102},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Accretion: Flexible, Networked Animated Music Notation For Orchestra With the Raspberry Pi

Kelly Fox

Abstract Bibtex

In 2014, the author set out to expand the notational potential of their generative music systems to be performed by the Rensselaer Orchestra in Troy, NY. The experiments resulted in the use of several networked Raspberry Pi devices delivering a realtime, generative Animated Music Notation to subsections of the live orchestra during performance. This paper outlines the structure of the piece, Accretion; the technical details of its implementation; and the possibilities presented by using the Raspberry Pi to deliver scored materials to performers. Ultimately, the paper seeks to make a case for adopting the Raspberry Pi as a powerful device and method of distribution/performance of Animated Music Notation.

@inproceedings{Fox_tenor2015,
  Address = {Paris, France},
  Author = { Kelly Fox },
  Title = {Accretion: Flexible, Networked Animated Music Notation For Orchestra With the Raspberry Pi},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {103--108},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Single Interface for Music Score Searching and Analysis (SIMSSA)

Ichiro Fujinaga and Andrew Hankinson

Abstract Bibtex

Single Interface for Music Score Searching and Analysis (SIMSSA) project targets digitized music scores to de-sign a global infrastructure for searching and analyzing music scores. Specifically, we seek to provide research-ers, musicians, and others to access the contents and metadata of a large number of scores in a searchable, digital format. In this project, we are developing proto-types for processing and accessing the scores by consult-ing closely music researchers, musicians, and librarians.

@inproceedings{Fujinaga_tenor2015,
  Address = {Paris, France},
  Author = { Ichiro Fujinaga and Andrew Hankinson },
  Title = {Single Interface for Music Score Searching and Analysis (SIMSSA)},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {109--115},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Browsing soundscapes

Patrice Guyot and Julien Pinquier

Abstract Bibtex

Browsing soundscapes is generally based on the waveform of the audio signal or textual metadata, which may be not informative. The TM-charts provide an efficient tool to represent and compare soundscapes. However, they remain little used probably due to the human annotation they need. In this paper, we describe a new approach to compute charts of soundscapes, that we call Samocharts. The Samocharts are inspired by TM-charts and can be computed without a human annotation. We present two methods for Samochart computation. The first one is based on a segmentation of the signal from a set of predefined sound events. The second one is based on the confidence score of the detection algorithms. We describe two application cases on corpora of field recording from the CIESS and the UrbanSound projects. Finally, Samocharts provide a compact and efficient representation of soundscapes, which can be used in different kind of applications.

@inproceedings{Guyot_tenor2015,
  Address = {Paris, France},
  Author = { Patrice Guyot and Julien Pinquier },
  Title = {Browsing soundscapes},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {116-123},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Graphic to Symbolic Representations of Musical Notation

Craig Sapp

Abstract Bibtex

This paper discusses a graphically oriented representation for music and how such representation systems can be converted into more symbolic/semantic representations of music. Specifically the representation system of the SCORE notation editor is presented along with case studies converting into other symbolic formats such as MIDI, Humdrum, Dox, MuseData, MusicXML and MEI using scorelib, an open-source library. Knowledge of the SCORE data format is useful for projects working on OMR (Optical Music Recognition) as it can be used as an intermediate layer between the raw scans and other digital music notation representation systems, as well as going in the other direction again from generalized music representations to specific graphical layouts.

@inproceedings{Sapp_tenor2015,
  Address = {Paris, France},
  Author = { Craig Sapp },
  Title = {Graphic to Symbolic Representations of Musical Notation},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {124--132},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Code scores in Live Coding

Thor Magnusson

Abstract Bibtex

This paper explores the idea of live coding programming environments as notational systems. The improvisational practice of live coding as combining both composition and performance is introduced and selected systems are discussed. The author's Threnoscope system is then intro- duced, but this is a system that contains both descriptive and prescriptive scores that can be changed in real-time.

@inproceedings{Magnusson_tenor2015,
  Address = {Paris, France},
  Author = { Thor Magnusson },
  Title = {Code scores in Live Coding},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {133--138},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

THEMA: A Music Notation Software Package with Integrated and Automatic Data Collection

Peter McCulloch

Abstract Bibtex

This paper introduces Thema, a custom music notation software environment designed to automatically and transparently capture quantitative data into a relational database. The majority of research into musical creativity is qualitative in nature, and this software addresses several areas, such as search and improvisational data, which are not well-addressed in the qualitative toolkit. Thema's database provides advantages over ad hoc file collection mechanisms by providing integrated search; the software also is able to consistently identify musical material via automatically assigned identification codes, and this provides a useful supplement to content-based search. In 2013, a study was conducted of ten graduate-level composers using Thema, and the dataset from this study was used to develop new analytical tools for examining compositional data.

@inproceedings{McCulloch_tenor2015,
  Address = {Paris, France},
  Author = { Peter McCulloch },
  Title = {THEMA: A Music Notation Software Package with Integrated and Automatic Data Collection},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {139--145},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Standard Music Font Layout (SMuFL)

Daniel Spreadbury and Robert Piéchaud

Abstract Bibtex

Digital typefaces containing the symbols used in Western common music notation have been in use for 30 years, but the development of the repertoire of symbols that are included, their assignment to code points, and design considerations such as glyph metrics and registration, have been rather ad hoc. The Standard Music Font Layout (SMuFL) establishes guidelines for all of these areas, and a reference implementation is available in the Bravura font family. Software developers and font designers alike are beginning to develop implementations of SMuFL in their products, and benefits including easier data interchange, interoperability of fonts with a variety of software packages, are already being felt.

@inproceedings{Spreadbury_tenor2015,
  Address = {Paris, France},
  Author = { Daniel Spreadbury and Robert Piéchaud },
  Title = {Standard Music Font Layout (SMuFL)},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {146--153},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

SVG to OSC Transcoding as a Platform for Notational Praxis and Electronic Performance

Rama Gottfried

Abstract Bibtex

In this paper presents a case study in the creation of an open notational framework for experimentation with new types of notation that may be applied in a wide variety of contexts. By separating the visual representation from the act of rendering, a space for an interpretive grammar layer is created in which symbolic notation may be translated into a format that is understood by another form of rendering. Technical details of preliminary work on this topic is presented, using Scalable Vector Graphics (SVG) as a container for hierarchical score information which is then transcoded to OpenSoundControl (OSC) as an intermediate data processing before being passed to a given rendering context.

@inproceedings{Gottfried_tenor2015,
  Address = {Paris, France},
  Author = { Rama Gottfried },
  Title = {SVG to OSC Transcoding as a Platform for Notational Praxis and Electronic Performance},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {154--161},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Abjad: An Open-source Software System for Formalized Score Control

Trevor Bača, Josiah Oberholtzer, Jeffrey Treviño and Víctor Adán

Abstract Bibtex

The Abjad API for Formalized Score Control extends the Python programming language with an open-source, object-oriented model of common-practice music notation that enables composers to build scores through the aggregation of elemental notation objects. A summary of widely used notation systems’ intended uses motivates a discussion of system design priorities via examples of system use.

@inproceedings{Baca_tenor2015,
  Address = {Paris, France},
  Author = { Trevor Bača and Josiah Oberholtzer and Jeffrey Treviño and Víctor Adán },
  Title = {Abjad: An Open-source Software System for Formalized Score Control},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {162--169},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

The Notation of Dynamic Levels in the Performance of Electronic Music

Carlo Laurenzi and Marco Stroppa

Abstract Bibtex

The “sound diffusion” (or “sound projection”), that is, “the projection and the spreading of sound in an acoustic space for a group of listeners”[1], of works for solo electronics or for acoustic instruments and electronics (so called, “mixed pieces”), has always raised the issue of notating the levels to be reproduced during a concert or the correct balance between the electronics and the instruments. If, in the last decades, some attempts were made by few composers or computer-music designers, mostly in the form of scores, none of these managed to establish a common practice. In addition, little theoretical work has been done so far to address the performative aspects of a piece, that is, to provide just the useful information to the person in charge of the sound diffusion. Through the discussion of three historical examples and the analysis of two experiences we developed, we will try to identify some possibly general solutions that could be adopted independently on the aesthetic or tech-nological choices of a given piece.

@inproceedings{Laurenzi_tenor2015,
  Address = {Paris, France},
  Author = { Carlo Laurenzi and Marco Stroppa },
  Title = {The Notation of Dynamic Levels in the Performance of Electronic Music},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {170--179},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Automated Representations of Temporal Aspects of Electroacoustic Music: Recent Experiments Using Perceptual Models

David Hirst

Abstract Bibtex

Within this paper we firstly examine the determination of a number of temporal aspects of Electroacoustic Music, and their representations. Then various automated segmentation methods, for Harrison’s Unsound Objects, are investigated. We find the multi-granular approach outlined by Lartillot et al, combined with the use of MFCCs, is a very efficient and salient segmentation strategy for music structured predominantly according to timbre. Further, the ‘Contrast’ parameter is both versatile and effective in determining the granularity of segmentation.

@inproceedings{Hirst_tenor2015,
  Address = {Paris, France},
  Author = { David Hirst },
  Title = {Automated Representations of Temporal Aspects of Electroacoustic Music: Recent Experiments Using Perceptual Models},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {180--189},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

The Cognitive Dimensions of Music Notations

Chris Nash

Abstract Bibtex

This paper presents and adapts the Cognitive Dimensions of Notations framework (Green and Petre, 1996) for use in designing and analysing notations (and user interfaces) in both digital and traditional music practice and study. Originally developed to research the psychology of programming languages, the framework has since found wider use in both general HCI and music. The paper provides an overview of the framework, its application, and a detailed account of the core cognitive dimensions, each discussed in the context of three music scenarios: the score, Max/MSP, and sequencer/DAW software. Qualitative and quantitative methodologies for applying the framework are presented in closing, highlighting directions for further development of the framework.

@inproceedings{Nash_tenor2015,
  Address = {Paris, France},
  Author = { Chris Nash },
  Title = {The Cognitive Dimensions of Music Notations},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {190--202},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Tufte Design Concepts in Musical Score Creation

Benjamin Bacon and Marcelo Wanderley

Abstract Bibtex

This paper introduces several examples of utilizing the information design concepts of Edward Tufte in musical no- tation and score design. Tufte is generally considered a modern pioneer in the field of information design. With several authoritative texts, Tufte’s work displays countless examples of successful and unsuccessful attempts of displaying information while also offering a few personal redesigns of especially troubled instances. Overall, Tufte reveals interesting concepts which could be useful when applied to designing musical notation systems. The author presents three personal notational examples which have been aided by Tufte’s work. Information design is a vast multidisciplinary field which could provide composers and musicians with an abundance of technical approaches to complex notational challenges.

@inproceedings{Bacon_tenor2015,
  Address = {Paris, France},
  Author = { Benjamin Bacon and Marcelo Wanderley },
  Title = {Tufte Design Concepts in Musical Score Creation},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {203--209},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Notation as Instrument: From Representation to Enaction

Eric Maestri and Pavlos Antoniadis

Abstract Bibtex

The paper explores the hybridization of notation and instrument as a cognitive movement from representation to enaction. Features of such hybridization are latent in every notation, as a mix of descriptive and prescriptive functions. Current advances in the fields of computer music representation (interactive scores) and New Interfaces for Musical Expression, with precedents in graphic and action-oriented scores, are turning notation into a shared multimodal platform between composer and performer, liquidizing the limit between notation and instrument. We will present this dynamic rapport between scores and interfaces (haptic interactions, INScore, GesTCom, post-Klaus K. Hübler tablature notations of decoupled action-structures) in the light of theoretical models (enaction defined as navigation of affordances from the field of embodied and extended cognition, Leman’s action-reaction cycle extended from instrument-making into notation, Veitl’s conception of software as tablature, Atau Tanaka’s definition of instruments as open-ended systems etc.). We are following an explicit line from new interfaces involving notation back to graphic and action-oriented scores, considering them in the theoretical framework of enaction.

@inproceedings{Maestri_tenor2015,
  Address = {Paris, France},
  Author = { Eric Maestri and Pavlos Antoniadis },
  Title = {Notation as Instrument: From Representation to Enaction},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {210--217},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Timbral Notation from Spectrograms: Notating the Un-Notatable?

Andrew Blackburn and Jean Penny

Abstract Bibtex

This paper outlines the background to a research project currently underway in Malaysia that, through spectography seeks to find models that might assist in the future development of a timbral notation. Located within the music creation and performance practices of the researchers, the project has elements of interculturality which both enrich and inform the research. The authors consider the nature of a music score, the explicit and implicit information it carries, and how this impacts on the models being developed. The understandings elicited to date are not only located in music practice, but are underpinned and supported by the theoretical works of a number of recent philosophers and theorists. The overall research project is broken down into smaller discrete sub-projects which are discussed, and the findings of each sub-project are then contextualized in the wider project. These findings include a discussion of the score as artifact and the potential contained within it. The finding in two sub-projects of a possible model of gestural notation, albeit with different purposes, suggests this as a further avenue of research. The paper concludes with some suggestions of future research areas that will follow on from the models of timbral notation being explored in this project.

@inproceedings{Blackburn_tenor2015,
  Address = {Paris, France},
  Author = { Andrew Blackburn and Jean Penny },
  Title = {Timbral Notation from Spectrograms: Notating the Un-Notatable?},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {218--225},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Composing with Graphics: Revealing the Compositional Process through Performance

Pedro Rebelo

Abstract Bibtex

The research presented here is product of a practice-based process that primarily generates knowledge through col-laboration and exchange in performance situations. It is this collaboration and exchange with various musicians over a period of five years that constitutes a body of practice that is here reflected upon. The paper focuses on non-instructional graphic scores and presents some insights based on performances of works by the author. We address how composition processes are revealed in graphic scores by looking at the conditions of decision making at the point of preparing a performance. We argue that three key elements are at play in the interpretation of these types of graphic scores: performance practice, mapping and musical form. By reflecting particularly on the work Cipher Series (Rebelo, 2010) we offer insights into the strategies for approaching the performance of graphic scores that go beyond symbolic codification.

@inproceedings{Rebelo_tenor2015,
  Address = {Paris, France},
  Author = { Pedro Rebelo },
  Title = {Composing with Graphics: Revealing the Compositional Process through Performance},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {226--230},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Access to musical information for blind people

Nadine Baptiste

Abstract Bibtex

In this paper we describe our approach to help blind people to access musical information. Guidelines of our approach are centered on information accessibility according to user disability. We present the process which permits to code and transform musical information to be read, treat and analyze by a Blind musician. We focus our proposition on the various level of description of the score done by several code and we exploit and describe existing results like BMML (Braille Music Markup Lan-guage) defined during Contrapunctus European project. We describe and comment different scenarios using existing free transformation modules and software to obtain a score in BMML in order to be read and manipulate by a Blind people with BMR (Braille Music Reader) and the recommendation and tutorials propositions done during the Musi4vip European project.

@inproceedings{Baptiste_tenor2015,
  Address = {Paris, France},
  Author = { Nadine Baptiste },
  Title = {Access to musical information for blind people},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {231--235},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Non-overlapping, Time-coherent Visualisation of Action Commands in the AscoGraph Interactive Music User Interface

Grigore Burloiu and Arshia Cont

Abstract Bibtex

Integrated authoring and performing of Mixed Music scores, where musicians interact dynamically with computer-controlled electronics, is enabled by the Antescofo state-of-the-art software package. Composers are able to plan computerised actions through a dedicated programming language, and performances are then synchronised in real time. AscoGraph is the dedicated graphical interface that allows users to configure Antescofo behaviours and visualise their layout over a Mixed Music score. This paper presents developments in the direction of increased clarity and coherence of AscoGraph’s visualisation of computerised action scores. Algorithms for efficient automatic stacking of time-overlapping action blocks are presented, as well as a simplified model for displaying atomic actions. The paper presents the improvements in score readability achieved, as well as the challenges faced towards a complete representation of dynamic mixed scores in the AscoGraph visual environment.

@inproceedings{Burloiu_tenor2015,
  Address = {Paris, France},
  Author = { Grigore Burloiu and Arshia Cont },
  Title = {Non-overlapping, Time-coherent Visualisation of Action Commands in the AscoGraph Interactive Music User Interface},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {236--240},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}

Dynamic Notation – A Solution to the Conundrum of Non-Standard Music Practice

Georg Hajdu

Abstract Bibtex

This paper discusses dynamic notation—a method allowing, in a notation environment, instant switching between different views or notation styles, thus creating a common ground for practitioners of non-standard music, such as composers, performers, conductors and scholars. A plugin structure for different notation styles based on a set of maps and queries executed during note entry and rendering, affecting music glyph choice and placement was implemented in the MaxScore Editor—a notation editor designed to run in Max or Ableton Live. We will give an in-depth analysis of the methods used for equidistant scales, non-octave tunings, music in just intonation as well as for instrument-specific layouts and will con-clude with a description of a scenario in which dynamic notation was used for the transcription and performance of Alexander Scriabin’s piano poem Vers la Flamme op. 72 by an ensemble of acoustic Bohlen-Pierce instruments.

@inproceedings{Hajdu_tenor2015,
  Address = {Paris, France},
  Author = { Georg Hajdu },
  Title = {Dynamic Notation – A Solution to the Conundrum of Non-Standard Music Practice},
  Booktitle = {Proceedings of the First International Conference on Technologies for Music Notation and Representation -- TENOR'15},
  Pages = {241--248},
  Year = {2015},
  Editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille},
  Publisher = {},
  ISBN = {978-2-9552905-0-7}
}