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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 Tuesday, May 12 to Thursday, May 14, 2020. The focus of the conference will be KiSS (Kinetics in Sound and Space) — the notation and representation of movement and gestures in sound and space. 

The last day 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, Thor Magnusson and Jessie Marino.

A total of 6 concerts will accompany the conference, showcasing technology recently acquired by the HfMT and featuring a special concert with the school’s motion tracking system. Workshops will be held at the Elbphilharmonie, Hamburg’s newly inaugurated landmark and cultural beacon.

Important Dates

Submission Deadline: December 31, 2019 

Start of review process: January 6, 2020

Notifications: February 20, 2020

Camera ready submissions: April 20, 2020

Early registration: February 1 – April 1, 2020

Conference Program ready: May 6, 2020

Call for Papers

We are now soliciting submissions for oral presentations as well as workshops and round-table discussions, encouraging 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 

Papers should be between 4 and 10 pages, written in English and not previously published. All submissions should 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 must be submitted by December 31, 2019 via the TENOR conference system at and must comply with the given templates. The conference system will open on November 1, 2019. Upon acceptance, camera-ready versions should be re-submitted within 30 days.

All accepted papers will be included in the conference proceedings which will be available on the conference website ( 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.

Inquiries on submissions and presentations including workshops should be directed to the paper chair Rama Gottfried:

Call for Sonic Works

We also invite submissions of music and sonic art works for presentation at the festival. Hamburg has a long and ongoing tradition of improvised music. In the spirit of this tradition we encourage submissions of works exploring emerging trends such as comprovisation or conduction. We also encourage submissions for pieces using the HfMT’s drawsocket technology for animated scores, recently employed in a large-scale project in the St. Pauli Elbe Tunnel (more information at, and Finally, submission of pieces using immersive and interactive technologies is strongly recommended.

Featured categories:

  • Real-time composition/notation and animated scores
  • Improvisation, comprovisation and conduction
  • AV & performance art
  • Works for interactive movement / dance / object theater
  • Fixed scores / media

Works in all categories are free to use video. 

Available ensembles and musicians:

  • TENOR2020 Orchestra (utilizing the drawsocket system, instrumentation TBA)
  • SPIIC Ensemble, the ensemble of the Studio for Polystylistic Improvisation and Interdisciplinary Crossover directed by Vlatko Kucan ( vocals, dàm bao, tp, tb, violin, sax, sax, guitar, piano, db, perc, clar / sax)
  • Blueprint Ensemble: sax, egtr, db, piano, perc, electronics
  • Chamber choir (4, 4, 4, 4)

Works for other resources will be considered, but artists may be responsible for providing their own performers. Where possible, modest financial help may be offered to facilitate this.

Pieces can be old or new, but they must be presented:

  • 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.
  • This PDF should also include a max. 250 word artist’s bio.
  • This PDF should also include a link to a max. 5 min YouTube/Vimeo video that demonstrates the score in action. 

Works must be submitted by December 31, 2019 via the TENOR conference system at The conference system will open on November 1, 2019. 

Please note that per piece at least one of the artists needs to register and attend the conference in order for the piece to be presented.

Inquiries on submissions and concerts should be directed to the music chair Jacob Sello:

General inquiries should be directed to the conference chair Georg Hajdu:

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