About

About

Four research centres and networks (matralab, MilieuX, CIRRMT, Hexagram) spanning three Montréal universities (Concordia, McGill, UQAM) propose to co-host the 4th International Conference on Technologies of Notation and Representation (acronym: TENOR) from May 24 to 26, 2018.

The first three TENOR conferences (2015 Paris, 2016 Cambridge, 2017 A Coruña) have established the growing relevance of emergent technologies of notation and representation for a wide range of musical practices: composers, performers, theoreticians, performance researchers, historians, ethnomusicologists, archivists etc.

The term “Technologies of Notation and Representation” encompasses the two principal modes of approaching performing arts by way of another medium: in order to either provide performers with a set of references or instructions that guide their performance (notation); or in order to de-ephemeralize (mostly: visualize) performance praxis for offline analysis or archiving (representation).

The core conference will be three-days long, one day at each university. In keeping with methodologies of research-creation, we will issue a call for scores alongside the call for papers. Works selected will be presented in workshop concerts / readings by well-known local ensembles such as Ensemble Supermusique, Quatuor Bozzini, and CLOrk (Concordia Laptop Orchestra). We will also offer, in parallel, a 5 day Performers’ Lab, for performers from all traditions interested in expanding their practice by performing scores that use new notational technologies.

Concordia

Mcgill

Uqam

Hexagram

Milieux

Matralab

Cirmmt

Hexagram Uqam

Themes

Themes

Score image from: Sandeep Bhagwati, Rives & Dérives (2012)

The fourth TENOR conference will continue to offer a lively forum for current research into situative scores, softwares, hardwares, performance practices and theories of music notation and representation, but we also intend to expand the scope of the conference by calling for papers on:

  • critical, aesthetic and sociological examinations of the interactions between new notation technologies and performance
  • notation technologies for non-eurological and/or non-art music (incl. never-before-notated music)
  • notation/representation technologies for time-based arts beyond music (dance, performance art, 
theatre, circus arts, animation, film etc.)
  • notations for space, gesture, movement etc.
  • non-visual notation systems (tactile, aural, olfactory, etc.)
  • digital games as notation (music as game)
  • notation and neurocognition (how does music notation work? which interactions/relationships can exist 
between specific notation technologies and neurocognition?)

In addition to papers, TENOR 2018 also calls for musical works using animated, rule-based, reactive, interactive or other situational and technology-based scores, to be read or performed during the conference.

Calls

× This conference offers a call for papers AND a call for musical works using situative scores. Please pay attention to the different timelines !

Timeline

Submission deadline (Scores) November 15, 2017
Submission deadline (Papers) December 15, 2017 Templates: LaTeX | Word
Notification of Acceptance (Scores) January 15, 2018
Notification of Acceptance (Papers) February 15, 2018
Revised Photo-Ready Papers April 15, 2018

Call for Papers / Posters

(Deadline: December 15, 2017)

The first three TENOR conferences (2015 Paris, 2016 Cambridge, 2017 A Coruña) have established the growing relevance of emergent technologies of notation and representation for a wide range of musical practices: composers, performers, theoreticians, performance researchers, historians, ethnomusicologists, archivists etc. The fourth TENOR conference will continue to offer a lively forum for current research into situative scores, softwares, hardware, performance practices and theories of notation and representation in musicking, but we also intend to expand the scope of the conference by calling for papers on

  • critical, aesthetic and sociological examinations of the interactions between new notation technologies and performance
  • notation technologies for non-eurological and/or non-art music (incl. never-before-notated music)
  • notation/representation technologies for time-based arts beyond music (dance, performance art, theatre, circus arts, animation, film etc.)
  • notations for space, gesture, movement etc.
  • non-visual notation systems (tactile, aural, olfactory, etc.)
  • digital games as notation (music as a game)
  • notation and neurocognition (how does notation work? which interactions/relationships can exist between specific notation technologies and neurocognition)

Submission guidelines

  • Papers must be written in English and must use and comply with the latex template or word templates provided below.
  • Full papers (not abstracts) and original work (not already published) must be submitted.
  • Paper length should be between 4 and 10 pages.

Proposals will be accepted as oral presentations or posters. Please state which presentation mode is preferred in the submission form. The Program Committee reserves the right to switch categories upon acceptance of a submission.

The duration of an oral presentation will be 15 minutes followed by a question period of 5 minutes. Posters must be printed by the presenters in A1 format before the conference and will be presented in dedicated sessions.

All accepted papers will be published in the conference proceedings, under an ISSN/ISBN reference, and will be archived online after the conference.

Download the Paper Template

Formats: LaTeX | Word

Submissions as PDF file only. Upon acceptance, all sources (.tex or .docx) and embedded graphics will be required as a zipped package. The use of the LaTeX template is strongly recommended.

Submission is via EasyChair: https://easychair.org/conferences/?conf=tenor2018

× Please note: we accept only full papers, not abstracts.

Call for Musical Works using Situative Scores

(Deadline: November 15, 2017)

In addition to papers, TENOR 2018 also calls for musical works using animated, reactive, interactive or other situative and technology-based scores, to be read or workshopped during the conference. Several Montréal ensembles and soloists have expressed their interest in exploring such scores. In addition, TENOR 2018 will comprise a performers' workshop from May 22-26 where participants will study and learn selected situative scores and perform them at an outcome concert.

Composers whose score is selected for one of the reading sessions are expected to attend the conference and workshop their score with the musicians. Composers whose score is selected for the young performer's workshop, if present, will be asked to conduct a rehearsal session of their score. If selected, a limited amount of travel support may be made available (only for free-lance composers).

Submission guidelines:

Scores can be old or new, but they must be presented

  1. in a .pdf with screenshots and a detailed explanation of their artistic and technological paradigms, their approach to musical praxis and – very important – their technological implementation, including personnel needs and qualifications.
  2. This .pdf should also include a max. 250 word artist bio of the author(s)/composer(s).
  3. This .pdf should also include a link to a max. 5 min youtube/vimeo video that demonstrates the score in action. All submitted videos will be shown as a permanent video roll in a public space during the conference.

Scores will be selected by the performers and by the local selection committee that runs the Tenor Performers Workshop. Being selected does not imply a guarantee for actual performance, as technical or organizational difficulties might prevent a planned performance. But every effort will be made to perform all selected scores.

Send all score submissions (one single PDF only) as an attachment (maximum 20MB) to the following e-mail address: tenor2018scores@tenor-conference.org.

Your e-mail should ALWAYS have the following subject line:

"TENOR 2018 Score Submission [Your last name(s)]".

In the body of your e-mail, please supply the following information in precisely this order:

  1. Name(s) and e-mail address(es) of author(s)
  2. Location(s) and affiliation(s)
  3. Name of your work
  4. Your comments

Committees

TENOR Steering Committee

Dominique Fober (Chair), Richard Hoadley, Mike Solomon, Pierre Couprie, Jean Bresson, Sandeep Bhagwati, Yann Geslin

TENOR Organizing Committee Montreal

Sandeep Bhagwati (Chair, director matralab, Concordia) Eldad Tsabary, Ricardo Dal Farra (all Concordia), Isabelle Cossette, Robert Hasegawa, Ichiro Fujinaga (all McGill/CIRMMT), Jean Décarie, André Eric Letourneau (co- director Hexagram Network), Simon Pierre Gourd (all UQAM), Christopher Salter (Concordia, co-director Hexagram Network), Bart Simon (Concordia, director MILIEUX), Jean Bresson (TENOR)

TENOR Program Committee (Papers)

Will be announced soon

TENOR Artistic Committee

Will be announced soon

Program

This page will be activated after the acceptance deadlines, probably in early March 2018.

Please come back and have a look then.

Performers’ Lab

The TENOR Performers’ Lab
May 22-26, 2018

Performers’ Lab

Score image from: Sandeep Bhagwati, Rives & Dérives (2012)

TENOR 2018 will offer a performers’ workshop from May 22-26 where participants will study and learn selected situative scores and perform them at an outcome concert at the close of the TENOR conference.

Situative Scores are defined here as animated, rule-based, reactive, interactive or other situational and technology-based scores.

The Performers’ Lab will be led by an experienced performer/composer who will lead the participants through the different aspects important in performing a variety of situative scores.

In addition, some scores for The Performers’ Lab will be selected from those who respond to the Call for Musical Works. The author[s] of these selected works will be invited to conduct one or two sessions on their score with the participants.

Registration for the Performers’ Lab will open in latest by mid-October.

More details on fees, location and instructors will be available then.

If you want to reserve a place before then, please contact us at matralab@gmail.com, with the subject Line: “TENOR 2018 Performers’ Lab pre-registration”

Service

Montréal is a large city with many hotel and B&B options.

Concordia University has preferential rate discount agreements with a number of nearby hotels in different comfort categories. A conference rate will be provided to all conference participants.

In addition, student hostels offer different degrees of affordable accommodation. All are situated practically on the Concordia Campus and in walking distance to the metro and bus lines that connect all three venues:

All three venues are very near adjacent stations on the same metro line (Green Line) and bus line (Bus 24). Transit times are minimal (under ten minutes). In fine weather, a leisurely 10-20 min walk will also connect them. Or a short bike ride on Montréal’s public BIXI bikes. A few hotel locations are shown below.

Register

Registration Fees Can $
Regular early bird (before March 15) 120
Regular late 150
Student early bird (before March 15) 60
Student late 100
Day Passes (incl. Workshop Readings) 20
Performers Lab registration 200

 

This page will be activated on Dec 15, 2017.

Please come back and have a look then.

Team

Organizers

Sandeep Bhagwati (Conference Chair)

Sandeep Bhagwati (Conference Chair)

Sandeep Bhagwati (Conference Chair)

Composer, associate professor (Concordia), director of matralab, long-standing experience in managing new music festivals, conferences and other cultural events. He was previously: Canada Research Chair for Inter-X Arts and Director of Hexagram Concordia.

Composer, associate professor (Concordia), director of matralab, long-standing experience in managing new music festivals, conferences and other cultural events. He was previously: Canada Research Chair for Inter-X Arts and Director of Hexagram Concordia.


Eldad Tsabary

Eldad Tsabary

Eldad Tsabary

Composer, assistant professor (Concordia), founder and director of the Concordia Laptop Orchestra CLOrk, President of Canadian Electroacoustic Community

Composer, assistant professor (Concordia), founder and director of the Concordia Laptop Orchestra CLOrk, President of Canadian Electroacoustic Community


Ricardo Dal Farra

Ricardo Dal Farra

Ricardo Dal Farra

Composer, associate professor (Concordia), director of the Latin American Electroacoustic Music Collection Archive, chair of the annual “Balance/Unbalance” – conference on arts and climate change, board member of the LEONARDO journal, curator of numerous media arts festivals in Latin America.

Composer, associate professor (Concordia), director of the Latin American Electroacoustic Music Collection Archive, chair of the annual “Balance/Unbalance” – conference on arts and climate change, board member of the LEONARDO journal, curator of numerous media arts festivals in Latin America.


Bart Simon

Bart Simon

Bart Simon

Media sociologist, associate professor (Concordia), Director MILIEUX Institute for Arts, Culture and Technology

Media sociologist, associate professor (Concordia), Director MILIEUX Institute for Arts, Culture and Technology


Christopher Salter

Christopher Salter

Christopher Salter

Media artist, associate professor (Concordia), Co-Director of Hexagram Network: Concordia University Research Chair in New Media, Technology and the Senses;

Media artist, associate professor (Concordia), Co-Director of Hexagram Network: Concordia University Research Chair in New Media, Technology and the Senses;


Isabelle Cossette (CIRMMT director)

Isabelle Cossette (CIRMMT director)

Isabelle Cossette (CIRMMT director)

Music performance researcher, associate professor (McGill), director of Centre for Interdisciplinary Research in Music and Music Technology (CIRMMT)

Music performance researcher, associate professor (McGill), director of Centre for Interdisciplinary Research in Music and Music Technology (CIRMMT)


Robert Hasegawa

Robert Hasegawa

Robert Hasegawa

Musicologist/music theorist, assistant professor (McGill), director of CIRMMT-Research Axis on Expanded Musical Practice.

Musicologist/music theorist, assistant professor (McGill), director of CIRMMT-Research Axis on Expanded Musical Practice.


Armando Menicacci

Armando Menicacci

Armando Menicacci

Choreographer and musicologist, associate professor (UQAM), board member of Hexagram Network

Choreographer and musicologist, associate professor (UQAM), board member of Hexagram Network


Jean Décarie

Jean Décarie

Jean Décarie

Composer/media artist, professor (UQAM), director and site manager of Hexagram UQAM

Composer/media artist, professor (UQAM), director and site manager of Hexagram UQAM


André Eric Letourneau

André Eric Letourneau

André Eric Letourneau

Media artist, associate professor (UQAM), co-director of Hexagram Network

Media artist, associate professor (UQAM), co-director of Hexagram Network


Jean Bresson

Jean Bresson

Jean Bresson

TENOR Co-founder and member of the steering committee. Chargé de recherche et développement HDR, Institut de Recherche et Coordination Acoustique / Musique (IRCAM), Paris

TENOR Co-founder and member of the steering committee. Chargé de recherche et développement HDR, Institut de Recherche et Coordination Acoustique / Musique (IRCAM), Paris



Staff

Conference Coordinator

Jen Reimer (matralab)

Technical Coordinator

Joseph A Browne (matralab)

Web Coordinator

Max Stein

Contact

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