Das ICST - Institute für Computer Musik und Sound Technologie – veranstaltete die 9. TENOR-Konferenz (International Conference on Technologies for Music Notation and Representation) an der Zürcher Hochschule der Künste (ZHdK) vom 4. bis 6. April 2024.
The Institute for Computer Music and Sound Technology (ICST) hosted the 9th TENOR Conference (International Conference on Technologies for Music Notation and Representation) at the Zurich University of the Arts (ZHdK) from Thursday, April 4, to Saturday, April 6, 2024.
The international conference brings together every year artists and researchers to exchange ideas on current scientific and artistic research related to notation and visualization technologies in the context of musical composition, sound art, performance practice, transcription, analysis, and pedagogy. TENOR Zurich 2024 focused particularly on the role of sketching in sound-related creative practices, music notation in a non-academic, experimental context, and notation in sound-related disciplines.
The conference featured keynotes from internationally renowned researchers Svetlana Maraš (Co-Director of the Electronic Studio Basel – Hochschule für Musik, Klassik FHNW), Laura Zattra (musicologist, professor at the conservatories of Bologna and Rovigo, and co-editor of the journal "Music/Technology," Florence), and Philippe Esling (professor and researcher in machine learning and AI in music at IRCAM, Paris). Additionally, TENOR Zurich 2024 called for contributions from researchers and artists for papers, posters, workshops, demos, and sonic works.
Among 82 submissions, 48 participants were selected to present 21 papers, 6 posters, 6 workshops and demos, 5 installations, and 14 compositions. Leo Izzo was awarded the Best Paper Award for exceptional research contributions, offered by the Computer Music Journal and curated by our group.
Significant efforts were made to provide the best possible conditions for the presentation of sonic works, reflecting the research on the performance of electroacoustic music conducted over the last decade at ICST. In addition to sound installations and performances by conference participants, the artistic program included collaborations with the Zurich-based Ensemble Collegium Novum, faculty members, and students of the Music Department at ZHdK, as well as invited soloists.
We also aimed to make the conference more accessible to early-career researchers and local artists without institutional affiliation by offering scholarships and providing an open live stream of keynotes and paper sessions for community members who could not attend in Zurich.