TENOR Boston 2023
Keynote Speakers

International Conference on Technologies for Music Notation and Representation

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TENOR Boston 2023
Keynote Speakers

May 15-17, 2023

International Conference on Technologies for Music Notation and Representation

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“Representation and Perception of Music Structure”

Title of talk is subject to change

Monday, May 15, 2023 – (time, TBD)

Morwaread Farbood

Associate Professor, Associate Director of Music Technology

Department of Music and Performing Arts Professions

Steinhardt School of Culture, Education, and Human Development

New York University

 

Screenshot showing a Hyperscore rendering of the exposition of the first movement of Beethoven’s Fifth Symphony

Morwaread Farbood is Associate Professor and Associate Director of Music Technology in the Department of Music and Performing Arts Professions at New York University. She is also affiliated with the Max Planck/NYU Center for Language, Music, and Emotion (CLaME) and the Music and Audio Research Laboratory (MARL). Her research focuses primarily on understanding the real-time aspects of music listening, in particular how emergent phenomena such as tonality and musical tension are perceived, in addition to developing computer applications for facilitating musical creativity based on cognitive models. She is the co-founder of the Northeast Music Cognition Group (NEMCOG), an organization that brings together music perception researchers in the Northeast Corridor region of the United States, and has served on its Executive Committee since its inception. She also served as the executive organizer of the 2019 Society for Music Perception and Cognition Conference, which was hosted at NYU. She is currently a member of the Editorial Board of the journal Empirical Musicology Review and the Executive Board of the Society for Music Theory; she also served as Associate Editor of the journal Psychomusicology: Music, Mind, and Brain from 2018-2021. Her publications have appeared in a variety of journals including Music Perception, Journal of the Acoustical Society of America, Proceedings of the National Academy of Sciences, Journal of Experimental Psychology: Human Perception and Performance, Frontiers in Psychology, Frontiers in Neuroscience, Attention, Perception, & Psychophysics, Personal and Ubiquitous Computing, and IEEE Computer Graphics and Applications. As a harpsichordist, Farbood won First Prize in the 2005 Prague Spring International Harpsichord Competition and is the recipient of the Pro Musicis International Award.

Earlier in her career, Professor Farbood developed Graphical Score Interface (GSI), a software environment that facilitates music composition by providing users with graphical tools for visualizing, manipulating, and generating high-level musical structures. The core design elements are based on Hyperscore, a software application designed by Farbood to help users with little or no musical training to compose music. A tension model within GSI serves as a way for users to visualize and shape the dynamic flow of their compositions from a large-scale perspective. Color is mapped to motivic material, which can be designated by the user or automatically determined by the system using an algorithm that extracts recurring melodic patterns from both audio and symbolic representations of music. The ultimate goal of GSI is to enable users of all musical backgrounds to create, edit, and analyze musical material through the assistance of an intelligent musical system based on models of music cognition.

“Cognition and Perception, Structure and Form: Thoughts on the Representation of Animal Song”

Title of talk is subject to change

Tuesday, May 16, 2023 – (time, TBD)

Holly Watkins

Professor of Musicology

Chair, Musicology Department

Eastman School of Music

Affiliate Faculty, Theory

 

Book Cover: Musical Vitalities: Ventures in a Biotic Aesthetics of Music by Holly Watkins

Holly Watkins received her PhD in musicology from the University of California, Berkeley in 2004, after completing an MA in musicology and a BA in physics at the University of Virginia. She is the author of Musical Vitalities: Ventures in a Biotic Aesthetic of Music (Chicago, 2018; series on New Material Histories of Music) and Metaphors of Depth in German Musical Thought: From E. T. A. Hoffmann to Arnold Schoenberg (Cambridge, 2011; series on New Perspectives in Music History and Criticism). Her articles on Romantic and modernist aesthetics, ecocriticism, and intersections between music and philosophy have appeared in such venues as the Journal of the American Musicological Society, 19th-Century Music, New Literary History, Women and Music, Opera Quarterly, New Centennial Review, and Contemporary Music Review. She has presented numerous papers at the annual meetings of the American Musicological Society as well as at conferences ranging from the yearly conventions of the Modern Language Association and the International Association for the Study of Popular Music to the meetings of the Music Theory Society of New York State and the Look and Listen Festival in New York City.

In 2014-15, Watkins received an ACLS Fellowship to support the writing of Musical Vitalities, and in 2010-11, she held a Harrington Faculty Fellowship at The University of Texas at Austin. In summer 2010, she participated in the Mannes Institute on Musical Aesthetics in Chicago. Her work has also been funded by the nationally competitive Alvin H. Johnson AMS 50 Dissertation Fellowship, the Mabelle McLeod Lewis Memorial Fund, the Townsend Center for the Humanities at UC Berkeley, and Phi Beta Kappa. Her current research and teaching interests center on Romanticism, the aesthetics and philosophy of music, ecocriticism, and posthumanism. In a former life, she enjoyed studying the principles of quantum theory and performing as the lead guitarist in an improvisational grunge-funk trio.

 

Registration for TENOR BOSTON 2023 Opens January 1, 2023

Full Registration (before April 15, 2023) is: $150. Students and independent artists: $50. Remote participation: $100. Full registration includes morning and afternoon coffee, tea, snacks; access to all papers, demos, workshops, and concerts.

Contact Us

14 + 7 =

Northeastern University

Music Department

Rm. 354 Ryder Hall

11 Leon St.

Boston, MA  02115

Longy School of Music of Bard College

27 Garden Street

Cambridge, MA  02138

New England Conservatory of Music

290 Huntington Ave.

Boston, MA  02115

Northeastern University

Music Department

Rm. 354 Ryder Hall

11 Leon St.

Boston, MA  02115

Longy School of Music of Bard College

27 Garden Street

Cambridge, MA  02138

New England Conservatory of Music

290 Huntington Ave.

Boston, MA  02115