Tenor 2016


28 - 29 May 2016
Anglia Ruskin University, Cambridge, UK

Download all the proceedings and all the bibtex refs.

Saturday 28th May

Location: LAB 028

09:00    Registration

Location: LAB 026

09:20    Introduction

1 - Visualisation Chair: Dominique Fober

09:30    Real-Time Corpus-Based Concatenative Synthesis for Symbolic Notation Bibtex     Abstract
Daniele Ghisi and Carlos Agon

09:50    Tension ribbons: Quantifying and visualising tonal tension Bibtex     Abstract
Dorien Herremans and Elaine Chew

10:10    Hybrid Real/Mimetic Sound Works Bibtex     Abstract
Lindsay Vickery

10:30    Visualizing Music in its Entirety using Acoustic Features: Music Flowgram Bibtex     Abstract
Dasaem Jeong and Juhan Nam

10:50   Break
2 - Ethnomusicology Chair: Torsten Anders

11:10    Swaralipi: A Framework for Transcribing and Rendering Indic Music Sheet Bibtex     Abstract
Chandan Misra, Tuhin Chakraborty, Anupam Basu and Baidurya Bhattacharya

11:30    Notating the Non-Notateable: Digital Notation of Txalaparta Practice Bibtex     Abstract
Enrike Hurtado and Thor Magnusson

11:50    Keynote

Elaine Chew

Making concrete the ineffable: from music to mathematical models
E. Chew Music as conceptualised in the mind and communicated in performance is more than that which is captured in conventional notation. It may be more than that which can be captured in notation, at least in human-readable form. Just how much of music can we make concrete through notation, or represent in graphs or mathematical models? And, of the multitude of possibilities, how do we select for the most relevant and crucial things to represent? Suppose that, in addition, beyond representation we wish to reveal why—why did the performer or composer choose this over that? why is this passage surprising?—thus veering towards questions of music cognition. How will the objective influence that which we devise to notate? We shall examine some of these issues through a series of experiments that aim to make tangible the ineffable nature of practicing and performing music. In particular, we consider the intentions that shape performances and the deeper music structures that guide them. The decisions and entities that musicians grapple with then provide impetus for the music representations.

Location: LAB 028

12:30    Poster session and lunch

Location: Recital Hall (HEL 029)
Music I Chair: Paul Rhys

13:30    S-notation: A complete musical notation system for scratching and sample music derived from "Theory of Motions" Bibtex     Abstract
Alexander Sonnenfeld and Kjetil Falkenberg Hansen

14:15    Pitchcircle3D: A Case Study in Live Notation for Interactive Music Performance Bibtex     Abstract
Tom Hall

15:00   Break
3 - Musicology Chair: Paul Jackson

15:20    Performance Practice of Real-Time Notation Bibtex     Abstract
Seth Shafer

15:40    Representing atypical music notation practices: An example with late 17th century music Bibtex     Abstract
Rodolfo Zitellini and Laurent Pugin

16:00    The Expressive Function in Wor Songs Bibtex     Abstract
Helena Palma

16:20   Break
4 - Ontology Chair: Nicholas Brown

16:40    Is There a Data Model in Music Notation? Bibtex     Abstract
Raphaël Fournier-Sn'Iehotta, Philippe Rigaux and Nicolas Travers

17:00    The Ontology of Live Notations Through Assemblage Theory Bibtex     Abstract
David Kim-Boyle

17:20    [Study no. 50][Notational Becoming][Speculations] Bibtex     Abstract
Ryan Ross Smith

17:40    Reception
Location: Recital Hall (HEL 029)
19:00    Concert
Elaine Chew, piano
Practicing Haydn (2013)
by Elaine Chew, Peter Child, Lina Viste Grønli
Stolen Rhythm (2009)
by Cheryl Frances-Hoad / Franz Josef Haydn
MorpheuS Haydn (2016)
by Dorien Herremans, Elaine Chew / Franz Josef Haydn
Sonata in E-flat, Hob XVI:45, finale
by Franz Josef Haydn (with MuSA.RT* tonal visualisations)
Katharine Norman
A walk I do (2015)
Quartertone alto flute, live text animation and audio processing
Carla Rees (quartertone alto flute)
Richard Hoadley
Edge Violations (2016)
Bass clarinet, computer and projections
Ian Mitchell Clarinet(s)
Jonathan Impett
Spoken (2015)
Metatrumpet and computers

Sunday 29th May

Location: LAB 026
5 - Interaction Chair: Chris Nash

09:30    Autonomy, Control, and Notation in Interactive Music Bibtex     Abstract
K. Michael Fox

09:50    Musical Instruments as Scores: A Hybrid Approach Bibtex     Abstract
Enrique Tomás

10:10    Musicking the Body Electric. The "body:suit:score" as a polyvalent score interface for situational scores. Bibtex     Abstract
Sandeep Bhagwati, Marcello Giordano, Joanna Berzowska, Alex Bachmayr, Julian Stein, Joseph Browne, Felix Del Tredici, Deborah Egloff, John Sullivan, Marcelo Wanderley and Isabelle Cossette

10:30    Processing of symbolic music notation via multimodal performance data: Brian Ferneyhough’s Lemma-Icon-Epigram for solo piano, phase 1 Bibtex     Abstract
Pavlos Antoniadis and Frédéric Bevilacqua

10:50   Break
6 - Technologies Chair: Elaine Chew

11:10    INScore expressions to compose symbolic scores Bibtex     Abstract
Gabriel Lepetit-Aimon, Dominique Fober, Yann Orlarey and Stéphane Letz

11:30    OMLILY: Filling the notational gap between composition and performance Bibtex     Abstract
Karim Haddad and Carlos Agon

11:50    Keynote

Jonathan Impett

Notation as hybrid technology
J. Impett The imagining, design and construction of musical objects beyond the scale of vernacular form or language is always technical. On a fundamental level it is also technological; the creation of music is an iterative, distributed process of inscription through technologies. Notation – broadly considered – is the common element of these technologies. In this talk I approach questions of notation in contemporary music in the light of such a view of historical practices; metaphors range from measurement and control through language to format and symbolic context for action. I argue that the common practice notation of modern Western art music has particular properties which are essential to the strength of that tradition, that characterize it as a contribution to human culture, but which also present challenges to its evolution. Notation can be viewed as the surface trace of an unconstrained model – the graphical centre of a network of technologies affording actions that may be physical or conceptual. It remains liminal; we consider the interaction of material and virtual elements through the very material on which notation makes its marks. This network must be considered in a cultural context which itself is technologically informed: a discourse of informal concepts and operations. Reflection on our own informal discourse is crucial in formulating approaches to notation in our contemporary hybrid musical practices.

Location: LAB 028

12:30    Poster session and lunch

Location: Recital Hall (HEL 029)
Music II Chair: Richard Hoadley

13:30    Decibel ScorePlayer Abstract
            Cat Hope (bass flute) and Lindsay Vickery (bass clarinet)

14:15    Study no. 10 for Piano and Electronics Abstract
            Ryan Ross Smith

15:00    Performance and Presentation of Hyperions Abstract
            Paul Turowski and Kevin Davis

15:45   Break
16:05    TENOR 2017 Presentation
7 - Technologies Chair: Tom Hall

16:15    Netscore: an Image Server/Client Package for Transmitting Notated Music to Browser and Virtual Reality Interfaces Bibtex     Abstract
Benedict Carey and Georg Hajdu

16:35    FEATUR.UX: exploiting multitrack information for artistic visualization Bibtex     Abstract
Ireti Olowe, Mathieu Barthet, Mick Grierson and Nick Bryan-Kinns

16:55    A robust algebraic framework for high-level music programming Bibtex     Abstract
David Janin

17:15    The Possibilities of a Line: Marking the Glissando in Music Bibtex     Abstract
Cat Hope and Michael Terren

17:15    Discussion - Closing


   Resurrecting a Dinosaur - The Adaptation of Clarence Barlow's Legacy Software Autobusk Bibtex     Abstract
Georg Hajdu

   Hexaphonic Guitar Transcription and Visualization Bibtex     Abstract
Iñigo Angulo, Sergio Giraldo and Rafael Ramirez

   Designing Dynamic Networked Scores to Enhance the Experience of Ensemble Music Making Bibtex     Abstract
Alice Eldridge, Ed Hughes and Chris Kiefer

   Conversion from Standard MIDI Files to Vertical Line Notation Scores and Automatic Decision of Piano Fingering for Beginners Bibtex     Abstract
Yasuyuki Saito, Eita Nakamura, Riku Sato, Suguru Agata, Yuu Igarashi and Shigeki Sagayama

   Taxonomy and Notation of Spatialization Bibtex     Abstract
Emile Ellberger, Germán Toro Pérez, Linda Cavaliero, Johannes Schuett, Basile Zimmermann and Giorgio Zoia

   Music Analysis Through Visualization Bibtex     Abstract
Jia Li

   Notation as Temporal Instrument Bibtex     Abstract
Eric Maestri

   Visual Confusion in Piano Notation Bibtex     Abstract
Marion Wood

   From Transcription to Signal Representation: Pitch, Rhythm and Performance Bibtex     Abstract
Marie Tahon and Pierre-Eugène Sitchet