Computer music tools for music notation have long been restricted to conventional approaches and dominated by a few systems, mainly oriented towards music engraving. During the last decade and driven by artistic and technological evolutions, new tools and new forms of music representation have emerged. The recent advent of systems like Bach, MaxScore or INScore (to cite just a few), clearly indicates that computer music notation tools have become mature enough to diverge from traditional approaches and to explore new domains and usages.
Mon. June 30th, 2014 – 3:00pm – 5:30pm
Centre for Digital Music – School of Electronic Engineering and Computer Science
Queen Mary University of London
Engineering Building – Room ENG 209
This seminar takes place in the series of events organized by the AFIM Work Group (French Association of Musical Computing) on music notation issues. The group objectives is is to make an assessment of the music score mutations, induced by the contemporary practices, and to report on the state of the art of software tools for music notation.
Introduction: technology and research for music notation
AFIM work groupe Les nouveaux espaces de la notation musicale – Dominique Fober (GRAME, Lyon), Pierre Couprie (IReMus, Université de Paris-Sorbonne), Yann Geslin (INA / GRM, Paris), Jean Bresson (IRCAM UMR STMS, Paris)
Sequencing and score following for interactive music
Thomas Coffy (IRCAM/INRIA/CNRS – Paris)
Tempo pattern representation for expressive performances
Shengchen Li (Queen Mary University of London)
Interactive XVII-XVIII century spanish music notation
David Rizo (Department of Software and Computing Systems, University of Alicante)
Can score design affect the readability of music?
Arild Stenberg (Faculty of Music, University of Cambridge)
How can dynamic score markings relate to dynamic changes?
Katerina Kosta (Queen Mary University of London)
• Groupe de travail AFIM Les nouveaux espaces de la notation musicale – Jean Bresson, Pierre Couprie, Dominique Fober, Yann Geslin.
• Richard Hoadley, Anglia Ruskin University, Cambridge.
• Elaine Chew, Jordan Smith, Centre for Digital Music, Queen Mary University of London