The conference will take place from Monday, May 10 to Thursday, May 13, 2021 in Hamburg, Germany.

The International Conference on Technologies for Music Notation and Representation is dedicated to issues in theoretical and applied research and development in Music Notation and Representation, with a strong focus on computer tools and applications, as well as a tight connection to music creation. “Technology” in the conference name refers to any mean that may contribute to the notation, representation and/or visualisation of the music and sound, for purposes that may include (but are not limited to) music composition, performance, representation, transcription, analysis and pedagogy.
The first edition of the conference – TENOR 2015 – was been held in Paris in May 2015, as the final outcome of a working group entitled The new Spaces of Music Notation. The other editions were held in Cambrigde (2016), A Coruña (2017), Montreal (2018)  and Melbourne (2019).

For more information visit http://www.tenor-conference.org/

Registration, tickets & schedule.

The 6th international conference on technologies for music notation and representation will take place from Monday May 10 to Thursday May 13 and be hosted by Hamburg University of Music and Drama (HfMT). The conference will include a special emphasis on Notation and Representation in the Time of a Pandemic.

The program will include daily paper presentations, workshops and concerts by international artists and researchers. Keynote speakers at TENOR 2021 will be Thor Magnusson (10.05.), Michael Maierhof (11.05.), Carola Bauckholt (12.05.) and Alexander Schubert (13.05.). The artistic programme will include, among many others, music by Christian Klinkenberg, Cat Hope, Jonathan Bell, Lindsay Vickery and Sandeep Bhagwati. Ensembles and artists in residence will be SPIIC Ensemble, Blue Print Ensemble, So Wrong it’s Right Trombone Quartet and the Bohlen-Pierce-clarinetists Nora-Louise Müller and Ákos Hoffmann.

The last two days of the conference will overlap with Klingt gut! Symposium on Sonic Art and Spatial Audio — an interdisciplinary event at the intersection of art and technology hosted by the Hamburg University of Applied Sciences (HAW). Attendees will be able to get passes at a reduced rate should they wish to participate in both conferences. TENOR 2021 and Klingt gut! 2021 will share two round tables together. First on May 12 with Natasha Barrett as keynote speaker at Klingt gut! and guests Hyunkook Lee, Daniel Rudrich, Markus Noisternig, Heather Frasch and Thor Magnusson. The event will be hosted by Rama Gottfried. The second round table on May 13 will focus on the (artistic) research project KiSS – Kinetics in Sound & Space in collaboration by HAW Hamburg and HfMT Hamburg.

All events can be attended through Whova after registration (see link below). 
Keynotes and concerts only will be provided by HfMT Hamburg’s Youtube channel and public Zoom Links for free.

Youtube Channel

Registration, ticketing and pricing here

Registration & Ticketing

Please check for daily schedule here

Daily Schedule

More information about TENOR and Klingt gut! can be found here:



Keynote Speakers.

10.05 Thor Magnusson

Thor Magnusson is a Professor in Future Music at the University of Sussex. His work focusses on the impact digital technologies have on musical creativity and practice, explored through software development, composition and performance. He is the co-founder of ixi audio (www.ixi-audio.net), and has developed audio software, systems of generative music composition, written computer music tutorials and created two musical live coding environments. He has taught workshops in creative music coding and sound installations, and given presentations, performances and visiting lectures at diverse art institutions, conservatories, and universities internationally.

In 2019, Bloomsbury Academic published Magnusson’s monograph Sonic Writing: The Technologies of Material, Symbolic and Signal Inscriptions (URL: https://www.bloomsbury.com/sonic-writing-9781501313868/ ). The book explores how contemporary music technologies trace their ancestry to previous forms of instruments and media, including symbolic musical notation. The book underpins current research, where, as part of the MIMIC project (www.mimicproject.com), where Magnusson has worked on a system that enables users to design their own live coding languages for machine learning (www.sema.codes). Thor is currently starting an ERC Consolidator grant project called “Intelligent Instruments” where the research is on our human perception of intelligent musical instruments, embedded with machine learning and other AI (see http://sonicwriting.org/blog/intent)

Further information here: http://thormagnusson.github.io

11.05 Michael Maierhof

Maierhof, Michael, German composer based in Hamburg, studied mathematics and music in Kassel and art history and philosophy in Hamburg. He is writing non-pitch organized music since the early nineties. Working with instruments, objects, video, preparations, applications, oscillating systems and motors.
He was an invited lecturer at Trinity College in Dublin, at the Stuttgarter Musikhochschule, California Institute of the Arts, Los Angeles, Mozarteum Salzburg and the Central Conservatory of Music in Beijng/China,at the Musikhochschule Freiburg, at the University of Cordoba/Argentina and the Bruckner University Linz, also at the Sibelius Academy Helsinki, University Tel Aviv and University Haifa. 2018 and 2019 he was also teaching composition at the Darmstädter summer courses and the Impuls Festival in Graz. He was awarded with the german music authors prize 2019.
Co-founder of the “stock11” artist network.

12.05 Carola Bauckholt

Carola Bauckholt was born in Krefeld, Germany, in 1959.
After working at the Theater am Marienplatz (TAM), Krefeld for several years, she studied composition at the Musikhochschule Köln with Mauricio Kagel (1978 – 1984). She founded the Thürmchen Verlag (music publisher) along with Caspar Johannes Walter in 1985, and six years later they founded the Thürmchen Ensemble.

​She has received numerous residencies and prizes such as the Bernd Alois Zimmermann Scholarship from the city of Cologne (1986), a residency at the Villa Massimo in Rome (1997), in 1998 she was designated the Artist of the Year by the State of North Rhine Westphalia. She was awarded the German Composers Prize from the GEMA in the category of experimental music in 2010. From London International Animation Festival 2019 she received the “Best Sound Design Award” for “The Flounder” in collaboration with Elizabeth Hobbs and Klangforum Wien. For 2021 she has been invited to a three-month stay at the Villa Aurora in Los Angeles.

In 2013, she was elected as a member of Akademie der Künste in Berlin. In 2015, she was appointed as professor of composition at the Anton Bruckner Privatuniversität in Linz, Austria. In 2020, she was elected as a member of the North Rhine-Westphalian Academy of Sciences, Humanities and the Arts.

A central theme of Bauckholt’s work is the examination of the phenomena of perception and understanding. Her compositions often blur the boundaries between visual arts, musical theater and concert music. She is especially fond of using noisy sounds, which are often produced by unconventional means (such as extended instrumental techniques or bringing everyday objects to the concert hall). It is important to note that these noises are not just part of some kind of a predetermined compositional structure, but rather they are carefully studied and left free to unfold and develop at their own pace lending the compositions their own unique rhythm.


13.05 Alexander Schubert

Alexander Schubert was born in 1979 in Bremen and studied bioinformatics in Leipzig and Multimedia Composition with Georg Hajdu and Manfred Stahnke in Hamburg. During his studies he has worked as a musician and composer in a variety of different environments. In addition, Schubert worked at the ZKM (Centre for Art and Media) in Karlsruhe for one year.
He’s a professor at the Musikhochschule Hamburg and the artistic head of the electronic studio at the conservatory in Lübeck and was a guest professor at Folkwang University in 2016. Mainly he’s working as a freelance composer.

Schubert’s interest explores cross-genre interfaces between acoustic and electronic music. The most characteristic feature of his work is the combination of different musical styles (like hardcore, free jazz, popular electronic music, techno) with contemporary classical concepts. He incorporates these influences based on his personal experience rather than theoretically approaching the topic. Schubert has participated in his youth and early career in all above-mentioned genres both in groups and as a solo artist.
Furthermore performance pieces are a major focus in his work. The use of the body in electronic music and the transportation of additional content through gestures are key features in his pieces, which aim at empowering the performer and at achieving a maximum of energy. The constant aim to pursue the search for the highest intensity in a musical performance is a driving force in his work – and this always in a subjective and barely ever conceptual way. This also leads to the regular questioning of the border between notated and improvised music. Several pieces can be understood as highly structured improvisations.

Since 2009 he focuses on sensor-based gestural composition in both his writing and research activities (as a PhD student). In this work field he is contributing to international conferences and researches with various institutes worldwide. The combination of aesthetic, technical and scientific aspects of this interdisciplinary approach have encountered a very positive reception. His technical training as a computer scientist is the basis for a fearless dealing with technology in general and sensors in particular.

Apart from working as a composer and solo musician Schubert is also a founding member of ensembles such as “Decoder“. He has contributed to a variety of different projects as a musician, composer and programmer (e.g. Wiener Festwochen, Staatsoper Berlin, SWR), curated a festival for contemporary electronic music for several years and runs the contemporary music label Ahornfelder. He’s an organizing member of the VAMH – a collective maintaining a broad network for contemporary music and organizing an annual two-week long festival. He’s been a jury member of conferences and competitions (e.g. SSSP Conference, JTTP competition), jury head (ICMC) and held composition workshops (e.g. Mexico City, Stockholm). He is the artistic head of the electronic studio at the conservatory in Lübeck, teacher at the conservatory in Hamburg and was a guest professor at Folkwang University in 2016.

He received prizes and scholarships from ZKM, Giga-Hertz-Prize, Bourges, ICMC, NIME, JTTP, Darmstädter Ferienkurse and commissions from NDR, International Musikinstitut Darmstadt , Ensemble Resonanz, IRCAM, ZKM, HCMF, Kulturstiftung Hamburg, Piano Possible and Ensemble Intégrales amongst others. His works have been performed more than 400 times for example by Ensemble Intercontemporain, Ictus Ensemble, Nadar Ensemble, Ensemble Mosaik, Ensemble Nikel, Klangforum Wien and Decoder Ensemble in over 35 countries, including: IRCAM Paris, NIME Sydney, ICMC, ZKM, Darmstädter Ferienkurse, Steinhardt School New York, Essl Museum Wien, Deutschlandfunk Köln, SMC Porto, MDR, Wiener Festwochen, Rainy Days Festival, Acht Brücken, TU Berlin, Kunsthalle Hamburg, Akousma Montreal, Klangwerktage Hamburg, EMM Kansas, ARD Hörspieltage, Ljubljana, USA, England, Spain, Tunisia.

Conference Call.

The Hamburg University of Music and Drama (HfMT) will host the 6th International Conference on Technologies for Music Notation and Representation (TENOR) in Hamburg (Germany) from Monday, May 10 to Thursday, May 13, 2021. The conference will include a special emphasis on Notation and Representation in the Time of a Pandemic.

The last two days of the conference will overlap with the Klingt gut! Symposium—an interdisciplinary event at the intersection of art and technology hosted by the Hamburg University of Applied Sciences (HAW). Attendees will be able to get passes at a reduced rate should they wish to participate in both conferences.

Keynote speakers will include Alexander Schubert and Thor Magnusson.

In light of the ongoing pandemic, we remain committed to both safety and quality, and as such, we cannot yet say if the conference will be held in person, online, or a mixture of both. We also recognize that while the situation may improve in Hamburg to the point of being able to safely host an in-person event, global travel may not yet be possible in May of 2021. We intend to adapt to the circumstances, and are already in the process of devising a number of different possible manifestations of the conferences, so you can rest assured that the conference will happen, and that its talks, concerts, and workshops will be presented under the best conditions we can provide.


Important Dates

Submission Deadline: January 17, 2021

Start of review process: January 31, 2021

Notifications:  5th of March, 2021

Camera ready submissions: April 12, 2021

Early registration: February 1 – April 1, 2021

Conference Program ready: May 6, 2021


Call for Papers

We are now soliciting submissions for oral presentations as well as workshops and round-table discussions, with a special emphasis on the theme of Notation and Performance in the Time of a Pandemic. In addition to that theme, we encourageencouraging submissions examining core areas of Technologies for Music Notation and Representation, in particular:

● Real-time composition, improvisation and comprovisation

● History and aesthetics of notation

● Notation of microtonal and/or electronic music

● Performer perspectives on technologies around notation

● Notation for and in virtual environments

● New interfaces for music notation

● Digital games as notation

● Notation as an emergent property of the performance system

● Critical, aesthetic and sociological examinations of the interactions between new notation technologies and performance

● Notation/representation technologies for time-based arts beyond music including notations for space, gesture, movement

● Non-visual notation systems (aural, tactile, olfactory, etc.)

● Principles of mnemonic notation, exploring the relationship between memory and representation


We also welcome submissions on the following topics:

● Notation and representation of sonified data

● Computational musicology and mathematical music theory with a focus on music representation

● Computer environments for music notation

● Notation in interactive performance systems

● Notation and robotics

● Music information retrieval

● Notation and music representation in education

● Notation and neurocognition


 Special theme: Notation and Performance in the Time of a Pandemic:

We are particularly interested in the ways in which research related to notation and performance responds to the extreme conditions that we currently find ourselves in. How might notational practices and platforms for collaborative music-making be mobilized during a period of forced isolation without emphasizing that which we lack: physical colocation? Are there questions that we, in this unique moment of our lives, are particularly well-situated to address? What will remain of the practices and works created during this period when, and if, we are able to return to “normal”?


About format, submission and acceptance

Papers should be between 4 and 10 pages, written in English and not previously published. All submissions should be anonymous and will be peer-reviewed. Accepted papers are expected to be delivered as oral presentations: 15 minute talk followed by 5 minutes of Q&A.

Papers should follow the formatting templates:

Download templates 

Papers must be submitted by January 17, 2021 via the TENOR conference system at https://easychair.org/conferences/?conf=tenor2021 and must comply with the given templates. The conference system will open on November 1, 2020. Upon acceptance, camera-ready versions should be re-submitted by April 12, 2021.

All accepted papers will be included in the conference proceedings which will be available on the conference website (https://tenor2021.hfmt-hamburg.de/) as an electronic publication. Please note that per paper at least one of the authors needs to register in order for the paper to be presented and included in the proceedings.


Sonic Works & Workshops

Since the coronavirus pandemic caused us to reschedule the 2020 edition of the TENOR conference, we have decided to reprogram those sonic works and workshops that had been previously selected, but never presented. In light of this, there will be no call for sonic works or workshops this year, although the conference itself will feature numerous performances and workshops, either online or in person.



Inquiries on submissions and presentations should be directed to the paper chair
Inquiries on musical submissions and concerts should be directed to the music chairs
Greg Beller & Jacob Sello: music-chair.tenor2020@hfmt-hamburg.de
General inquiries should be directed to the conference chair