Thursday 28th May
Location: Centre Clignancourt
INScore Workshop
From 13:30 to 17:30   

Friday 29th May
Location: Maison de la Recherche

09:00    Registration

09:30    Introduction

09:40    LEADSHEETJS: A Javascript Library for Online Lead Sheet Edition Bibtex     Abstract
Daniel Martín, Timotée Neullas and François Pachet

10:00    Bigram Editor: a score editor for the Bigram Notation Bibtex     Abstract
Andres Perez-Lopez, Pep Alcantara-Noalles and Bertrand Kientz

10:20    Expressive Quantization of Complex Rhythmic Structures for Automatic Music Transcription Bibtex     Abstract
Mauricio Rodriguez

10:40    Computer-aided Melody Note Transcription Using the Tony Software: Accuracy and Efficiency Bibtex     Abstract
Matthias Mauch, Chris Cannam, Rachel Bittner, George Fazekas, Justin Salamon, Jiajie Dai, Juan Bello and Simon Dixon

Animated Notation - Live NotationChair: Dominique Fober

11:30    Understanding Animated Notation Bibtex     Abstract
Christian Fischer

11:50    An Atomic Approach to Animated Music Notation Bibtex     Abstract
Ryan Ross Smith

12:10    SEMAPHORE: Cross-Domain Expressive Mapping with Live Notation Bibtex     Abstract
Richard Hoadley

12:30    The DECIBEL Scoreplayer - A Digital Tool for Reading Graphic Notation Bibtex     Abstract
Cat Hope, Lindsay Vickery, Aaron Wyatt and Stuart James

12:50    Transfer to IRCAM
Location: IRCAM

14:20    Poster craze
Music IChair: Yann Geslin

14:40    Automatized transcription and melodic analysis to study the Dunhuang pipa scores. Abstract
Weiping Wang, Vincent Boucheau

15:20    Extended shapes on the Tonnetz for (instantaneous) composition and modal analysis in modern music. Abstract
Mattia Bergomi

Poster sessionChair: Jérémie Garcia

   Spectromorphological Notation: Exploring the Uses of Timbral Visualisations in Ethnomusicological Works Bibtex     Abstract
Hassan Abdullah Mohd and Andrew Blackburn

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

   OSSIA: towards a unified interface for scoring time and interaction Bibtex     Abstract
Jean-Michaël Celerier, Pascal Baltazar, Clément Bossut, Nicolas Vuaille, Jean-Michel Couturier and Myriam Desainte-Catherine

   A Sign to write Acousmatic Scores Bibtex     Abstract
Jean-Louis Di Santo

   A Paradigm for Scoring Spatialization Notation Bibtex     Abstract
Emile Ellberger, Germán Toro-Perez, Johannes Schuett, Linda Cavaliero and Giorgio Zoia

   Accretion: Flexible, Networked Animated Music Notation For Orchestra With the Raspberry Pi Bibtex     Abstract
Kelly Fox

   Single Interface for Music Score Searching and Analysis (SIMSSA) Bibtex     Abstract
Ichiro Fujinaga and Andrew Hankinson

   Browsing soundscapes Bibtex     Abstract
Patrice Guyot and Julien Pinquier

   Moving and Changing - New Notation for Music Education Abstract
Shane Mc Kenna

   Graphic to Symbolic Representations of Musical Notation Bibtex     Abstract
Craig Sapp

Music IIChair: Yann Geslin

17:00    Code scores in Live Coding Bibtex     Abstract
Thor Magnusson          

17:40    Scaffolding sketches: algorithmically disrupting the empty staff Abstract
Mike Solomon

18:30    Opening reception

Saturday 30th May
Location: Maison de la Recherche
Technology for Music NotationChair: Richard Hoadley

09:20    THEMA: A Music Notation Software Package with Integrated and Automatic Data Collection Bibtex     Abstract
Peter McCulloch

09:40    Standard Music Font Layout (SMuFL) Bibtex     Abstract
Daniel Spreadbury and Robert Piéchaud

10:00    SVG to OSC Transcoding as a Platform for Notational Praxis and Electronic Performance Bibtex     Abstract
Rama Gottfried

10:20    Abjad: An Open-source Software System for Formalized Score Control Bibtex     Abstract
Trevor Bača, Josiah Oberholtzer, Jeffrey Treviño and Víctor Adán

Electro-acoustic Music NotationChair: Andrew Blackburn

11:00    The Notation of Dynamic Levels in the Performance of Electronic Music Bibtex     Abstract
Carlo Laurenzi and Marco Stroppa

11:20    Automated Representations of Temporal Aspects of Electroacoustic Music: Recent Experiments Using Perceptual Models Bibtex     Abstract
David Hirst

11:40    Keynote

Eleanor Selfridge-Field

E. Selfridge-Field Eleanor Selfridge-Field, Consulting Professor Music, is a musicologist and digital humanities scholar at Stanford University, where she heads the Center for Computer Assisted Research in the Humanities, an affiliate of the Packard Humanities Institute. She is the author of 16 books in digital musicology and 5 in historical musicology. Her teaching, most of it in collaboration with Craig Sapp, focuses on music representation systems and music-information retrieval.

Does musical notation have a cultural centre?

In music encoding the expressions “common music notation” (CMN) and “common-practice period” are used freely as umbrella terms to cover European art music from 1700 to 1950. We use these terms as if a uniform understanding could be assumed. Increasingly, though, CMN is invoked to exclude music of three categories—early music, recent music, and non-Western music. If we examine CMN more closely, especially from the perspective of digital manipulation of some kind, we are inclined to keep chipping away are elements of some music within CMN to exclude particular or idiosyncratic repertories—Verdi operas, Tchaikovsky symphonies, the music of Bela Bartok and Zoltan Kodaly, Western non-classical music of particular kinds, music that fulfills pedagogical needs, Braille Music Notation, and so forth. We also quickly discover that early music is not one “thing” in terms of notation but a cornucopia of notational styles, many of them less fully specified than the average score of today. In the end, the same can be said of CMN: to the extent that written music is a compromise between a world of imagined sound and an practical means of enabling others to interpret it, the most seemingly conventional scores sometimes pose problems for which the encoder must choose between convention and reason, or else invent a new graphical means of expression. This is what has given rise in recent decades to frequent calls for new methods of notation, which in turn may threaten to undermine the usually serviceable language of CMN. While enabling music to seek new directions, we must be wary of invoking the “silo” practices of medieval scriptoria, in which music was “notated” exclusively for the use of a few individuals well known to the scribe.

14:20    TENOR 2016 Presentation
Cognition - PerceptionChair: Cat Hope

14:30    The Cognitive Dimensions of Music Notations Bibtex     Abstract
Chris Nash

14:50    Tufte Design Concepts in Musical Score Creation Bibtex     Abstract
Benjamin Bacon and Marcelo Wanderley

15:10    Notation as Instrument: From Representation to Enaction Bibtex     Abstract
Eric Maestri and Pavlos Antoniadis

15:30    Timbral Notation from Spectrograms: Notating the Un-Notatable? Bibtex     Abstract
Andrew Blackburn and Jean Penny

Specific NotationsChair: Ichiro Fujinaga

16:20    Composing with Graphics: Revealing the Compositional Process through Performance Bibtex     Abstract
Pedro Rebelo

16:40    Access to musical information for blind people Bibtex     Abstract
Nadine Baptiste

17:00    Non-overlapping, Time-coherent Visualisation of Action Commands in the AscoGraph Interactive Music User Interface Bibtex     Abstract
Grigore Burloiu and Arshia Cont

17:20    Dynamic Notation – A Solution to the Conundrum of Non-Standard Music Practice Bibtex     Abstract
Georg Hajdu

17:40    Discussion - Closing