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 - TENOR2016},
    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 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 - TENOR2016},
    Pages = {8--18},
    Year = {2016},
    Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
    Publisher = {Anglia Ruskin University},
    ISBN = {978-0-9931461-1-4}
}

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 - TENOR2016},
    Pages = {19--24},
    Year = {2016},
    Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
    Publisher = {Anglia Ruskin University},
    ISBN = {978-0-9931461-1-4}
}

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 - TENOR2016},
    Pages = {25--32},
    Year = {2016},
    Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
    Publisher = {Anglia Ruskin University},
    ISBN = {978-0-9931461-1-4}
}

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 - TENOR2016},
    Pages = {33--43},
    Year = {2016},
    Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
    Publisher = {Anglia Ruskin University},
    ISBN = {978-0-9931461-1-4}
}

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 - TENOR2016},
    Pages = {44--49},
    Year = {2016},
    Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
    Publisher = {Anglia Ruskin University},
    ISBN = {978-0-9931461-1-4}
}

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 - TENOR2016},
    Pages = {50--57},
    Year = {2016},
    Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
    Publisher = {Anglia Ruskin University},
    ISBN = {978-0-9931461-1-4}
}

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 - TENOR2016},
    Pages = {58--64},
    Year = {2016},
    Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
    Publisher = {Anglia Ruskin University},
    ISBN = {978-0-9931461-1-4}
}

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 - TENOR2016},
    Pages = {65--70},
    Year = {2016},
    Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
    Publisher = {Anglia Ruskin University},
    ISBN = {978-0-9931461-1-4}
}

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 - TENOR2016},
    Pages = {71--77},
    Year = {2016},
    Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
    Publisher = {Anglia Ruskin University},
    ISBN = {978-0-9931461-1-4}
}

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 - TENOR2016},
    Pages = {78--84},
    Year = {2016},
    Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
    Publisher = {Anglia Ruskin University},
    ISBN = {978-0-9931461-1-4}
}

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-Sn'Iehotta 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 - TENOR2016},
    Pages = {85--91},
    Year = {2016},
    Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
    Publisher = {Anglia Ruskin University},
    ISBN = {978-0-9931461-1-4}
}

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 - TENOR2016},
    Pages = {92--97},
    Year = {2016},
    Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
    Publisher = {Anglia Ruskin University},
    ISBN = {978-0-9931461-1-4}
}

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 - TENOR2016},
    Pages = {98--104},
    Year = {2016},
    Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
    Publisher = {Anglia Ruskin University},
    ISBN = {978-0-9931461-1-4}
}