From andrew.hankinson at mail.mcgill.ca Wed Jan 27 14:37:48 2016 From: andrew.hankinson at mail.mcgill.ca (Andrew Hankinson) Date: Wed, 27 Jan 2016 13:37:48 +0000 Subject: [MEI-L] Registration Open: Music Encoding 2016 Message-ID: <1E33B91F-D492-4BE8-8810-C1CEAFA5A378@mail.mcgill.ca> (Please distribute widely) Dear colleagues, On behalf of the organizing and program committees we are delighted to invite you to attend the Music Encoding Conference 2016, which will be held on 17-20 May in Montréal, Canada. Registration for this event is now open. Details on the program, venues, and registration are available on the conference website: http://music-encoding.org/mec2016 We are following the successful model of previous Music Encoding Conferences: The 17th will be a hands-on workshop day, the main program of the conference will be held on the 18th and 19th, and an "unconference" day will be held on the 20th as an opportunity for community members to self-organize tutorials, discuss research projects and collaborations, or participate in a "hack" day. We are delighted to announce that this year's keynote speakers will be Julia Flanders and Richard Freedman. Regular registration is available until 31 March, and "late bird" registration is be available until 8 May. Thanks to a grant by the Social Sciences and Humanities Research Council of Canada, we are able to offer dramatically reduced prices for student registration. There are also a limited number of travel bursaries for student presenters available. Details on deadlines, eligibility, and how to apply are available on the conference website. This year we will also be inviting conference participants to attend a free public lecture and concert in collaboration with Montréal-based choir VivaVoce on the evening of Friday, 20 May. Details on this event are also available on the website. Any questions may be sent along to the conference organizers at conference2016 at music-encoding.org . We are looking forward to welcoming you to Montréal in May! For the program and organizing committees, Andrew Hankinson Ichiro Fujinaga -------------- next part -------------- An HTML attachment was scrubbed... URL: From pdr4h at eservices.virginia.edu Tue Feb 2 16:41:27 2016 From: pdr4h at eservices.virginia.edu (Roland, Perry D. (pdr4h)) Date: Tue, 2 Feb 2016 15:41:27 +0000 Subject: [MEI-L] Music Encoding Conference Proceedings 2013 and 2014 Message-ID: Dear MEI Community, we're proud to announce the availability of the Music Encoding Conference Proceedings for both MEC2013 and MEC2014. While it took us way too long to get them up (and even to announce them), they are available under a permanent URN from the Bavarian State Library, which volunteered to host the document. Please visit http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812 for the PDF itself, and https://www.vifamusik.de/en/document-server/congress-reports-and-conference-proceedings/ for the website holding it. Thanks to all authors, both for their contributions and patience, for everyone involved in the preparation of this publication, and to the Bavarian State Library for ensuring both sustainability and availability of this publication. Regards, Perry Roland and Johannes Kepper ________________________________ Perry Roland University of Virginia P. O. Box 400874 Charlottesville, VA, 22904 434-982-2702 (w) pdr4h (at) virginia (dot) edu -------------- next part -------------- An HTML attachment was scrubbed... URL: From rklugseder at gmx.at Thu Feb 4 12:35:31 2016 From: rklugseder at gmx.at (Robert Klugseder) Date: Thu, 4 Feb 2016 12:35:31 +0100 Subject: [MEI-L] Registration Open: Music Encoding 2016 In-Reply-To: <1E33B91F-D492-4BE8-8810-C1CEAFA5A378@mail.mcgill.ca> References: <1E33B91F-D492-4BE8-8810-C1CEAFA5A378@mail.mcgill.ca> Message-ID: <1EE1BB4F5F164CC89A644C517FFFB7B1@Laptop> Dear Andrew, Today I did my registration and flight bookings etc. for the MEC. I was suprised about the need of a Electronic Travel Authorization (http://www.cic.gc.ca/english/visit/visas-all.asp). Perhaps you should spread this information on the MEC website. greetings Robert _________________________ PD Dr. Robert Klugseder, M.A. Österreichische Akademie der Wissenschaften Institut für kunst- und musikhistorische Forschungen Dr. Ignaz Seipel-Platz 2 A-1010 WIEN +43/699/11192366 From: Andrew Hankinson Sent: Wednesday, January 27, 2016 2:37 PM To: mei-l at lists.uni-paderborn.de Subject: [MEI-L] Registration Open: Music Encoding 2016 (Please distribute widely) Dear colleagues, On behalf of the organizing and program committees we are delighted to invite you to attend the Music Encoding Conference 2016, which will be held on 17-20 May in Montréal, Canada. Registration for this event is now open. Details on the program, venues, and registration are available on the conference website: http://music-encoding.org/mec2016 We are following the successful model of previous Music Encoding Conferences: The 17th will be a hands-on workshop day, the main program of the conference will be held on the 18th and 19th, and an "unconference" day will be held on the 20th as an opportunity for community members to self-organize tutorials, discuss research projects and collaborations, or participate in a "hack" day. We are delighted to announce that this year's keynote speakers will be Julia Flanders and Richard Freedman. Regular registration is available until 31 March, and "late bird" registration is be available until 8 May. Thanks to a grant by the Social Sciences and Humanities Research Council of Canada, we are able to offer dramatically reduced prices for student registration. There are also a limited number of travel bursaries for student presenters available. Details on deadlines, eligibility, and how to apply are available on the conference website. This year we will also be inviting conference participants to attend a free public lecture and concert in collaboration with Montréal-based choir VivaVoce on the evening of Friday, 20 May. Details on this event are also available on the website. Any questions may be sent along to the conference organizers at conference2016 at music-encoding.org. We are looking forward to welcoming you to Montréal in May! For the program and organizing committees, Andrew Hankinson Ichiro Fujinaga -------------------------------------------------------------------------------- _______________________________________________ mei-l mailing list mei-l at lists.uni-paderborn.de https://lists.uni-paderborn.de/mailman/listinfo/mei-l -------------- next part -------------- An HTML attachment was scrubbed... URL: From drizovalero at gmail.com Tue Mar 1 21:02:36 2016 From: drizovalero at gmail.com (David Rizo @ gmail) Date: Tue, 1 Mar 2016 21:02:36 +0100 Subject: [MEI-L] Anacrusis measures In-Reply-To: <1EE1BB4F5F164CC89A644C517FFFB7B1@Laptop> References: <1E33B91F-D492-4BE8-8810-C1CEAFA5A378@mail.mcgill.ca> <1EE1BB4F5F164CC89A644C517FFFB7B1@Laptop> Message-ID: <9DA3D116-5B7E-4102-82A1-53AF7456D2B1@gmail.com> Dear colleagues, while encoding pickup measures I’ve found that the Sibelius to MEI plugin does not use any kind of notation for them, however I’ve found some examples among the samples in github (https://github.com/music-encoding/music-encoding/tree/MEI_dev/samples/MEI2013/), e.g. Opera.mei, that encode it using: How should I encode anacrusis measures= Thank you in advance, David -------------- next part -------------- An HTML attachment was scrubbed... URL: From esfield at stanford.edu Tue Mar 1 21:08:56 2016 From: esfield at stanford.edu (Eleanor Selfridge-Field) Date: Tue, 1 Mar 2016 20:08:56 +0000 Subject: [MEI-L] Anacrusis measures In-Reply-To: <9DA3D116-5B7E-4102-82A1-53AF7456D2B1@gmail.com> References: <1E33B91F-D492-4BE8-8810-C1CEAFA5A378@mail.mcgill.ca> <1EE1BB4F5F164CC89A644C517FFFB7B1@Laptop> <9DA3D116-5B7E-4102-82A1-53AF7456D2B1@gmail.com> Message-ID: Hi, MusicXML took “measure 0” from MuseData, where it has always worked well. It is important for syntax-checking at the ends of movements (or sections of movements in binary form). Eleanor Eleanor Selfridge-Field Consulting Professor, Music 541 Lasuen Mall Braun Music Center #129 Stanford University Stanford, CA 94305-3076, USA esfield at stanford.edu Profile: https://profiles.stanford.edu/eleanor-selfridge-field From: mei-l [mailto:mei-l-bounces at lists.uni-paderborn.de] On Behalf Of David Rizo @ gmail Sent: Tuesday, March 01, 2016 12:03 PM To: Music Encoding Initiative Subject: [MEI-L] Anacrusis measures Dear colleagues, while encoding pickup measures I’ve found that the Sibelius to MEI plugin does not use any kind of notation for them, however I’ve found some examples among the samples in github (https://github.com/music-encoding/music-encoding/tree/MEI_dev/samples/MEI2013/), e.g. Opera.mei, that encode it using: How should I encode anacrusis measures= Thank you in advance, David -------------- next part -------------- An HTML attachment was scrubbed... URL: From craigsapp at gmail.com Tue Mar 1 21:53:05 2016 From: craigsapp at gmail.com (Craig Sapp) Date: Tue, 1 Mar 2016 12:53:05 -0800 Subject: [MEI-L] Anacrusis measures In-Reply-To: <9DA3D116-5B7E-4102-82A1-53AF7456D2B1@gmail.com> References: <1E33B91F-D492-4BE8-8810-C1CEAFA5A378@mail.mcgill.ca> <1EE1BB4F5F164CC89A644C517FFFB7B1@Laptop> <9DA3D116-5B7E-4102-82A1-53AF7456D2B1@gmail.com> Message-ID: Hi David et al., I encode anacrusis measures in MEI like this: Where measure at complete="i" means that it is not a completely full measure, and measure at left="invis" is perhaps not necessary, but insinuates that it is the last part of an incomplete measure. Comments on how to do properly or how @type="upbeat" works with this encoding or not would be good to post. For type="upbeat" how would that related to the second half of a measure which is split by a repeat sign? Is there an attribute for measures which says that the metric positions are filled from the end of the measure rather than the front (notice that this example has a half-note in it. If the meter is 4/4, then that is not strictly an "upbeat" since it would be an "uptwobeat" measure. -=+Craig On 1 March 2016 at 12:02, David Rizo @ gmail wrote: > Dear colleagues, > > while encoding pickup measures I’ve found that the Sibelius to MEI plugin > does not use any kind of notation for them, however I’ve found some > examples among the samples in github ( > https://github.com/music-encoding/music-encoding/tree/MEI_dev/samples/MEI2013/), > e.g. Opera.mei, that encode it using: > > > > How should I encode anacrusis measures= > > Thank you in advance, > David > > _______________________________________________ > mei-l mailing list > mei-l at lists.uni-paderborn.de > https://lists.uni-paderborn.de/mailman/listinfo/mei-l > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From pdr4h at eservices.virginia.edu Tue Mar 1 22:33:26 2016 From: pdr4h at eservices.virginia.edu (Roland, Perry D. (pdr4h)) Date: Tue, 1 Mar 2016 21:33:26 +0000 Subject: [MEI-L] Anacrusis measures In-Reply-To: References: <1E33B91F-D492-4BE8-8810-C1CEAFA5A378@mail.mcgill.ca> <1EE1BB4F5F164CC89A644C517FFFB7B1@Laptop> <9DA3D116-5B7E-4102-82A1-53AF7456D2B1@gmail.com> Message-ID: Hi David, Eleanor, everyone, The “measure 0” method Eleanor mentions seems to me to be inadequate in that it assumes so-called “pickup” measures always occur as the initial measure of a notated work. I’m certainly no MusicXML expert, but I assume that every measure with this function would have to be labeled with @number=”0” , sometimes leading to more than one occurrence of a number-less measure and confusion over how to label measures. To me, it seems better to divorce the indication of an under-full measure with its status as an anacrusis. This allows for the possibility of a pickup measure anywhere, for instance, as Eleanor points out, leading into the next section of a work in sectional form. Also, under-full measures can occur anywhere without assuming they’re some kind of anacrusis. So, MEI provides a couple of attributes for encoding data in pickup measures. First, the @metcon attribute can be used to indicate a relationship to the prevailing time signature. On it takes a Boolean value, “true” if the measure conforms to the time signature, “false” if it does not. Second, the @type attribute can be used to classify the measure using any convenient typology. There is no standard set of values for @type, but “anacrusis” or “pickup” would be appropriate values, I think. To me, “upbeat” works at a different level of granularity; that is, at the beat rather than the measure level, so I wouldn’t use it as a value for @type on measure. -- p. From: mei-l [mailto:mei-l-bounces at lists.uni-paderborn.de] On Behalf Of Eleanor Selfridge-Field Sent: Tuesday, March 01, 2016 3:09 PM To: David Rizo Valero; Music Encoding Initiative Subject: Re: [MEI-L] Anacrusis measures Hi, MusicXML took “measure 0” from MuseData, where it has always worked well. It is important for syntax-checking at the ends of movements (or sections of movements in binary form). Eleanor Eleanor Selfridge-Field Consulting Professor, Music 541 Lasuen Mall Braun Music Center #129 Stanford University Stanford, CA 94305-3076, USA esfield at stanford.edu Profile: https://profiles.stanford.edu/eleanor-selfridge-field From: mei-l [mailto:mei-l-bounces at lists.uni-paderborn.de] On Behalf Of David Rizo @ gmail Sent: Tuesday, March 01, 2016 12:03 PM To: Music Encoding Initiative Subject: [MEI-L] Anacrusis measures Dear colleagues, while encoding pickup measures I’ve found that the Sibelius to MEI plugin does not use any kind of notation for them, however I’ve found some examples among the samples in github (https://github.com/music-encoding/music-encoding/tree/MEI_dev/samples/MEI2013/), e.g. Opera.mei, that encode it using: How should I encode anacrusis measures= Thank you in advance, David -------------- next part -------------- An HTML attachment was scrubbed... URL: From pdr4h at eservices.virginia.edu Tue Mar 1 22:57:02 2016 From: pdr4h at eservices.virginia.edu (Roland, Perry D. (pdr4h)) Date: Tue, 1 Mar 2016 21:57:02 +0000 Subject: [MEI-L] Anacrusis measures In-Reply-To: References: <1E33B91F-D492-4BE8-8810-C1CEAFA5A378@mail.mcgill.ca> <1EE1BB4F5F164CC89A644C517FFFB7B1@Laptop> <9DA3D116-5B7E-4102-82A1-53AF7456D2B1@gmail.com> Message-ID: Hi Craig, The @complete attribute is no longer supported. :-| There is no method for indicating that the measure is “filled from the end”. But one way is to use “anacrusis” instead of “upbeat” to label an incomplete measure. :-) As is often the case, there’s more than one way to encode a “measure split by a repeat sign”. It can be represented as a single measure with an internal, so-called “pseudo” bar line or as 2 separate and incomplete measures. While musically (graphically?) it’s convenient to think of such a measure as a single entity, representation as 2 incomplete measures makes more sense from a structural point of view -- the “chunks” of the measure can be given an ID, assigned functions (using @type), and provided with rendering hints, independently of each other. In addition, using 2 measure elements doesn’t break any hierarchy created by
and elements. The @join attribute can be used to indicate that the 2 measures form a single logical entity. -- p. From: mei-l [mailto:mei-l-bounces at lists.uni-paderborn.de] On Behalf Of Craig Sapp Sent: Tuesday, March 01, 2016 3:54 PM To: David Rizo Valero; Music Encoding Initiative Subject: Re: [MEI-L] Anacrusis measures Hi David et al., I encode anacrusis measures in MEI like this: Where measure at complete="i" means that it is not a completely full measure, and measure at left="invis" is perhaps not necessary, but insinuates that it is the last part of an incomplete measure. Comments on how to do properly or how @type="upbeat" works with this encoding or not would be good to post. For type="upbeat" how would that related to the second half of a measure which is split by a repeat sign? Is there an attribute for measures which says that the metric positions are filled from the end of the measure rather than the front (notice that this example has a half-note in it. If the meter is 4/4, then that is not strictly an "upbeat" since it would be an "uptwobeat" measure. -=+Craig On 1 March 2016 at 12:02, David Rizo @ gmail > wrote: Dear colleagues, while encoding pickup measures I’ve found that the Sibelius to MEI plugin does not use any kind of notation for them, however I’ve found some examples among the samples in github (https://github.com/music-encoding/music-encoding/tree/MEI_dev/samples/MEI2013/), e.g. Opera.mei, that encode it using: How should I encode anacrusis measures= Thank you in advance, David _______________________________________________ mei-l mailing list mei-l at lists.uni-paderborn.de https://lists.uni-paderborn.de/mailman/listinfo/mei-l -------------- next part -------------- An HTML attachment was scrubbed... URL: From diet at bsb-muenchen.de Thu Mar 10 13:34:01 2016 From: diet at bsb-muenchen.de (=?UTF-8?Q?J=C3=BCrgen=20Diet?=) Date: Thu, 10 Mar 2016 13:34:01 +0100 Subject: [MEI-L] Job advertisement for OMR-project at Bavarian State Library Message-ID: <56E177C90200006F0009EA82@gwia.bsb-muenchen.de> Dear readers of the ISMIR- and MEI-lists, the Music Department of the Bavarian State Library seeks a person with very good skills in music information retrieval and optical music recognition. The job advertisement can be found here (in German because we need a person with German language skills): https://vifamusik.wordpress.com/2016/03/10/stellenausschreibung-der-musikabteilung-der-bayerischen-staatsbibliothek/ Best wishes, Jürgen Diet **************************************************************** Jürgen Diet Deputy head of Music Department Bavarian State Library Ludwigstr. 16 D-80539 Munich Germany Tel. ++49-89-28638-2768 Fax ++49-89-28638-2479 email: juergen.diet at bsb-muenchen.de ViFaMusik-Homepage: http://www.vifamusik.de/home.html?L=1 ViFaMusik-Blog (in German): http://vifamusik.wordpress.com ViFaMusik in Twitter (in German): http://twitter.com/vifamusik BSB Music Department: http://musik.bsb-muenchen.de Digitized musical holdings of the BSB: http://www.digitale-sammlungen.de/index.html?c=sammlungen&kategorie_sammlung=8&l=de *************************************************************** From richard at rjlewis.me.uk Mon Mar 14 15:53:18 2016 From: richard at rjlewis.me.uk (Richard Lewis) Date: Mon, 14 Mar 2016 14:53:18 +0000 Subject: [MEI-L] Musical Scholarship and the Future of Academic Publishing, Mon 11 April Message-ID: <87fuvt3ych.wl-richard@rjlewis.me.uk> INVITATION TO WORKSHOP --------------------------------------------------------- Musical Scholarship and the Future of Academic Publishing --------------------------------------------------------- An all-day workshop sponsored by the Academic Book of the Future project. VENUE AND DATE Goldsmiths, University of London. Ian Gulland Lecture Theatre, Whitehead Building. #34 on this map . 10:30 - 18:00, Monday 11 April 2016. DESCRIPTION Music publishing and writing about music have always pushed at the boundaries of publishing technology. And the dissemination of music documents often challenges our notions of authorial ownership. As digital technology increasingly dominates the production and dissemination of scholarly content, including original writing, critical editions, and creative practice, how will music research rise to the challenges it poses? This one day event forms part of the Academic Book of the Future project and aims to explore how digital production and dissemination will impact on music publishing and scholarship in the coming years. Topics covered will include: what will be the best practice for encoding, dissemination, and preservation of music notation? How will online collaboration affect the production and ownership of digital music editions? How can the narrative structures and arguments of scholarly discourse and of music editions be preserved in a context of 'random access' (from search engines, etc.)? Should scholars and artists publish their work (writing, editions, compositions) as Open Access, and should they carry out their drafting processes in public, making early editions and edit histories available online? BOOKING Attendance is free (including refreshments, lunch and a wine reception). However places are limited so please book in advance using Eventbrite: PROGRAMME 10:30 - 11:00 Registration and coffee 11:00 - 11:15 Welcome Tim Crawford, Marilyn Deegan 11:15 - 11:45 "Thinking the Unthinkable... or, The Limits of Open Access" Mark Everist (Southampton) 11:45 - 12:15 "Hypermedia Musicology: Publishing musicology on the Web" Tim Crawford and Richard Lewis (Goldsmiths) 12:15 - 12:45 "Films as ethnomusicological texts: observational cinema and the fieldwork movie" John Baily (Goldsmiths) 12:45 - 14:00 Lunch 14:00 - 14:30 "Aggregating digital resources for musicology" Laurent Pugin (Swiss RISM) 14:30 - 15:00 "Toward building an upper-level music ontology: Why, what, and how" Yun Fan (RILM) 15:00 - 15:30 "Enriching Musical Context and Connecting Audiences" Zoltán Kőmíves and Joan Lockwood (Tido Music) 15:30 - 16:00 Coffee 16:00 - 17:00 Roundtable Chair: Simon McVeigh (Goldsmiths) 17:00 - 18:00 Wine -- -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Richard Lewis j: ironchicken at jabber.earth.li @: lewisrichard http://web.rjlewis.me.uk/ -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- From richard.lewis at gold.ac.uk Tue Mar 15 16:17:28 2016 From: richard.lewis at gold.ac.uk (Richard Lewis) Date: Tue, 15 Mar 2016 15:17:28 +0000 Subject: [MEI-L] CfP: 3rd Intl. Digital Libraries for Musicology workshop, New York, Fri 12 Aug 2016 Message-ID: <87bn6fvkhj.wl-richard.lewis@gold.ac.uk> CALL FOR PAPERS 3rd International Digital Libraries for Musicology workshop (DLfM 2016) Friday 12th August The Avery Fisher Center for Music and Media, Bobst Library, New York University, NY, USA A satellite event of ISMIR 2016 BACKGROUND Many Digital Libraries have long offered facilities to provide multimedia content, including music. However there is now an ever more urgent need to specifically support the distinct multiple forms of music, the links between them, and the surrounding scholarly context, as required by the transformed and extended methods being applied to musicology and the wider Digital Humanities. The Digital Libraries for Musicology (DLfM) workshop presents a venue specifically for those working on, and with, Digital Library systems and content in the domain of music and musicology. This includes Music Digital Library systems, their application and use in musicology, technologies for enhanced access and organisation of musics in Digital Libraries, bibliographic and metadata for music, intersections with music Linked Data, and the challenges of working with the multiple representations of music across large-scale digital collections such as the Internet Archive and HathiTrust. This, the third Digital Libraries for Musicology workshop, is a satellite event of the annual International Society for Music Information Retrieval (ISMIR) conference, and in particular encourages reports on the use of MIR methods and technologies within Music Digital Library systems when applied to the pursuit of musicological research. WORKSHOP OBJECTIVES DLfM will focus on the implications of music on Digital Libraries and Digital Libraries research when pushing the boundaries of contemporary musicology, including the application of techniques as reported in more technologically oriented fora such as ISMIR and ICMC. This will be the third edition of DLfM following a very successful and well received workshop at Digital Libraries 2014, and then at JCDL 2015, giving an opportunity for the community to present and discuss recent developments that address the challenges of effectively combining technology with musicology through Digital Library systems and their application. The workshop objectives are: - to act as a forum for reporting, presenting, and evaluating this work and disseminating new approaches to advance the discipline; - to create a venue for critically and constructively evaluating and verifying the operation of Music Digital Libraries and the applications and findings that flow from them; - to consider the suitability of existing Music Digital Libraries, particularly in light of the transformative methods and applications emerging from musicology, large collections of both audio and music related data, ‘big data’ method, and MIR; - to set the agenda for work in the field to address these new challenges and opportunities. TOPICS Topics of interest for the workshop include but are not limited to: - Music Digital Libraries. - Applied MIR techniques in Music Digital Libraries and musicological investigations using them. - Techniques for locating and accessing music in Very Large Digital Libraries (e.g. HathiTrust, Internet Archive). - Music data representations, including manuscripts/scores and audio - Interfaces and access mechanisms for Music Digital Libraries. - Digital Libraries in support of musicology and other scholarly study; novel requirements and methodologies therein. - Digital Libraries for combination of resources in support of musicology (e.g. combining audio, scores, bibliographic, geographic, ethnomusicology, performance, etc.) - User information needs and behaviour for Music Digital Libraries. - Identification/location of music (in all forms) in generic Digital Libraries. - Mechanisms for combining multi-form music content within and between Digital Libraries and other digital resources. - Information literacies for Music Digital Libraries. - Metadata and metadata schemas for music. - Application of Linked Data and Semantic Web techniques to Music Digital Libraries, and for their access and organisation. - Optical Music Recognition. - Ontologies and categorisation of musics and music artifacts. SUBMISSIONS We invite full papers (up to 8 pages) or short and position papers (up to 4 pages). Papers will be peer reviewed by 2-3 members of the programme committee. Please produce your paper using the ACM template and submit it in draft to DLfM on EasyChair by 20th May 2016 and the final version before 27th May 2016 (see IMPORTANT DATES). Accepted papers will be included in our proceedings. Previous proceedings have been published in the ACM ICPS series, and can be found in the ACM Digital Library. All submitted papers must: - be written in English; - contain author names, affiliations, and email addresses; - be formatted according to the ACM SIG Proceedings template with a Type 1 font no smaller than 9pt; - be in PDF (make sure that the PDF can be viewed on any platform), and formatted for A4 size. It is the authors' responsibility to ensure that their submissions adhere strictly to the required format. Submissions that do not comply with the above guidelines may be rejected without review. Please note that at least one author from each accepted paper must attend the workshop to present their work, and in addition must be registered for the workshop by a date, preceding the camera ready deadline, which will be confirmed in due course (see IMPORTANT DATES above). ACM template: http://www.acm.org/sigs/publications/proceedings-templates Submissions: TBC Contact email: TBC IMPORTANT DATES Draft paper / abstract submission deadline: 20th May 2016 (23:59 UTC-11) Final paper submission deadline: 27th May 2016 (23:59 UTC-11) Notification of acceptance: 4th July 2016 Camera ready submission deadline: 26th July 2016 (14:00 UTC) Workshop: 12th August 2016 WORKSHOP ORGANISATION Chairs Kevin Page, University of Oxford Ben Fields, Goldsmiths University of London Publicity and proceedings Richard Lewis, Goldsmiths University of London Programme Committee TBC -- -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Richard Lewis Computing, Goldsmiths' College t: +44 (0)20 7078 5203 @: lewisrichard http://www.transforming-musicology.org/ 905C D796 12CD 4C6E CBFB 69DA EFCE DCDF 71D7 D455 -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= From pdr4h at eservices.virginia.edu Fri Mar 18 14:30:04 2016 From: pdr4h at eservices.virginia.edu (Roland, Perry D. (pdr4h)) Date: Fri, 18 Mar 2016 13:30:04 +0000 Subject: [MEI-L] R.I.P Sebastian Rahtz, 13 February 1955 - 15 March 2016 Message-ID: >From the TEI mailing list -- Date: Thu, 17 Mar 2016 23:38:16 +0000 From: James Cummings > Subject: R.I.P Sebastian Rahtz, 13 February 1955 - 15 March 2016 Some of you have already heard, but it is with great sadness that I tell you that our friend and colleague Sebastian Rahtz passed away on the 15 March 2016. He discovered last autumn that he had late-stage brain cancer and shortly thereafter retired to spend his remaining time with his family. Our thoughts are with his wife Leonor, two daughters, and other family. There will be a ceremony for Sebastian on the 24th March at 13:45 at the Oxford Crematorium, Bayswater Rd, Oxford OX3 9RZ. It will be mostly for family but anyone is welcome.They would like to invite anyone else for a memorial on the 24th March at 15:00pm at the Friends Meeting House, 42 St Giles, Oxford OX1 3LW. They invite you to share this with anyone who may be interested. Donations in Sebastian's memory may be made to Sobell House Hospice (http://www.sobellhouse.org/) or Macmillan Cancer Care (http://www.macmillan.org.uk/), or care of The Individual Funeral Company, 86 Rose Hill, Oxford, OX4 4HX. I have set up a book of condolences at http://goo.gl/forms/BjJRBOQho3 and a google photos shared album at https://goo.gl/photos/gK8gsXZ3tVoTuG5w9 (which you can join and add your own photos). These will be provided to his family at a later date. -James -- Dr James Cummings, James.Cummings at it.ox.ac.uk Academic IT Services, University of Oxford -------------- next part -------------- An HTML attachment was scrubbed... URL: From andrew.hankinson at mail.mcgill.ca Mon Mar 21 17:22:41 2016 From: andrew.hankinson at mail.mcgill.ca (Andrew Hankinson) Date: Mon, 21 Mar 2016 16:22:41 +0000 Subject: [MEI-L] Reminder: Registration for the Music Encoding Conference Message-ID: Dear Colleagues, This is a reminder that the early registration deadline for the Music Encoding Conference is quickly approaching! Register before March 31 for best rates on the conference website. http://music-encoding.org/community/conference/mec2016/registration/ We are looking forward to welcoming you in Montréal. For the organizing committee, Andrew Hankinson Ichiro Fujinaga -------------- next part -------------- An HTML attachment was scrubbed... URL: From zolaemil at gmail.com Mon Apr 4 09:25:11 2016 From: zolaemil at gmail.com (=?UTF-8?B?S8WRbcOtdmVzIFpvbHTDoW4=?=) Date: Mon, 4 Apr 2016 08:25:11 +0100 Subject: [MEI-L] Musikmesse Message-ID: Hi All, I am going to attend the W3C Music Notation Community Group Meeting in Frankfurt this Friday. Is anyone else going to this or Musikmesse at all? Best Zoltan -------------- next part -------------- An HTML attachment was scrubbed... URL: From joshan.mahmud at gmail.com Mon Apr 4 09:37:10 2016 From: joshan.mahmud at gmail.com (Joshan Mahmud) Date: Mon, 4 Apr 2016 08:37:10 +0100 Subject: [MEI-L] Musikmesse In-Reply-To: References: Message-ID: Unfortunately not - I would really like to attend this but I shall have to wait until one occurs in London! Josh On Mon, Apr 4, 2016 at 8:25 AM, Kőmíves Zoltán wrote: > Hi All, > > I am going to attend the W3C Music Notation Community Group Meeting in > Frankfurt this Friday. Is anyone else going to this or Musikmesse at all? > > Best > Zoltan > > _______________________________________________ > mei-l mailing list > mei-l at lists.uni-paderborn.de > https://lists.uni-paderborn.de/mailman/listinfo/mei-l > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From annplaksin at gmx.net Mon Apr 4 14:40:54 2016 From: annplaksin at gmx.net (Anna Plaksin) Date: Mon, 4 Apr 2016 14:40:54 +0200 Subject: [MEI-L] What is a cautionary accidental? Message-ID: <000001d18e6f$3ac09a30$b041ce90$@gmx.net> Dear list, while I was looking for a way to deal with musica ficta signs, I came across the @func attribute. Whereas the definition of an editorial accidental is clear to me, I'm wondering how a cautionary accidental can be understood. I didn't find any further explanations for this particular attribute. Or I try it the other way round: Does someone know a way to encode musica ficta accidentals? How could they be distinguished from other explicit accidentals without declaring them as editorial - because they are written in the source. Thanks in advance for sharing your wisdom with me. :-) Best wishes, Anna -------------- nächster Teil -------------- Ein Dateianhang mit HTML-Daten wurde abgetrennt... URL: From erik.ronstrom at doremir.com Mon Apr 4 14:54:24 2016 From: erik.ronstrom at doremir.com (=?utf-8?Q?Erik_Ronstr=C3=B6m?=) Date: Mon, 4 Apr 2016 14:54:24 +0200 Subject: [MEI-L] What is a cautionary accidental? In-Reply-To: <000001d18e6f$3ac09a30$b041ce90$@gmx.net> References: <000001d18e6f$3ac09a30$b041ce90$@gmx.net> Message-ID: Quoting ”Behind Bars” : ”An accidental that is repeated later in a bar, even though it is not strictly necessary, is called a ’cautionary’ (or ’reminder’ or ’courtesy’) accidental. Cautionary accidentals confirm the pitch of a note that might otherwise be questioned […] Atonal and highly chromatic idioms should include cautionary accidentals to assist accurate reading.” Erik > 4 apr 2016 kl. 14:40 skrev Anna Plaksin : > > Dear list, > > while I was looking for a way to deal with musica ficta signs, I came across the @func attribute. Whereas the definition of an editorial accidental is clear to me, I’m wondering how a cautionary accidental can be understood. I didn’t find any further explanations for this particular attribute. > Or I try it the other way round: Does someone know a way to encode musica ficta accidentals? How could they be distinguished from other explicit accidentals without declaring them as editorial – because they are written in the source. > > Thanks in advance for sharing your wisdom with me. :-) > > Best wishes, > Anna > > > > _______________________________________________ > mei-l mailing list > mei-l at lists.uni-paderborn.de > https://lists.uni-paderborn.de/mailman/listinfo/mei-l -------------- next part -------------- An HTML attachment was scrubbed... URL: From esfield at stanford.edu Tue Apr 5 00:03:34 2016 From: esfield at stanford.edu (Eleanor Selfridge-Field) Date: Mon, 4 Apr 2016 22:03:34 +0000 Subject: [MEI-L] What is a cautionary accidental? In-Reply-To: References: <000001d18e6f$3ac09a30$b041ce90$@gmx.net> Message-ID: Hi, “Behind Bars” does not give the whole story. The musica ficta track (Renaissance and early baroque music) involves providing (usually in parentheses above the affected note) an alteration that may be introduced by a performer to respect the movement within a particular hexachord. It is not a hard-wired part of the score or the encoding, but of course it is unavailable to the performer unless it is indicated in some way. It is not cautionary; it is optional. The later-music track usually uses cautionary accidents to warn the performer of something that is ingrained in the score might be missed in the visual environment, especially return to the key indicated in th4 signature after a modulation or an alteration that carries over a page-turn. At the encoding level, no special provision is required for the second. The accommodation is in the rendering, which is up to the editor. Regards to all, Eleanor Eleanor Selfridge-Field Consulting Professor, Music 541 Lasuen Mall Braun Music Center #129 Stanford University Stanford, CA 94305-3076, USA esfield at stanford.edu Profile: https://profiles.stanford.edu/eleanor-selfridge-field From: mei-l [mailto:mei-l-bounces at lists.uni-paderborn.de] On Behalf Of Erik Ronström Sent: Monday, April 04, 2016 5:54 AM To: Music Encoding Initiative Subject: Re: [MEI-L] What is a cautionary accidental? Quoting ”Behind Bars” : ”An accidental that is repeated later in a bar, even though it is not strictly necessary, is called a ’cautionary’ (or ’reminder’ or ’courtesy’) accidental. Cautionary accidentals confirm the pitch of a note that might otherwise be questioned […] Atonal and highly chromatic idioms should include cautionary accidentals to assist accurate reading.” Erik 4 apr 2016 kl. 14:40 skrev Anna Plaksin >: Dear list, while I was looking for a way to deal with musica ficta signs, I came across the @func attribute. Whereas the definition of an editorial accidental is clear to me, I’m wondering how a cautionary accidental can be understood. I didn’t find any further explanations for this particular attribute. Or I try it the other way round: Does someone know a way to encode musica ficta accidentals? How could they be distinguished from other explicit accidentals without declaring them as editorial – because they are written in the source. Thanks in advance for sharing your wisdom with me. :-) Best wishes, Anna _______________________________________________ mei-l mailing list mei-l at lists.uni-paderborn.de https://lists.uni-paderborn.de/mailman/listinfo/mei-l -------------- next part -------------- An HTML attachment was scrubbed... URL: From rfreedma at haverford.edu Tue Apr 5 03:26:49 2016 From: rfreedma at haverford.edu (Richard Freedman) Date: Mon, 4 Apr 2016 21:26:49 -0400 Subject: [MEI-L] What is a cautionary accidental? In-Reply-To: References: <000001d18e6f$3ac09a30$b041ce90$@gmx.net> Message-ID: For the Renaissance tradition of the cautionary accidental, I would suggest looking at the work of Don Harran: Harrán, Don, (Author). "New evidence for musica ficta: the cautionary sign." *Journal Of The American Musicological Society* 29, no. 1 (Spring 1976): 77-98. Richa Richarichard If you On Mon, Apr 4, 2016 at 6:03 PM, Eleanor Selfridge-Field < esfield at stanford.edu> wrote: > Hi, > > > > “Behind Bars” does not give the whole story. The musica ficta track > (Renaissance and early baroque music) involves providing (usually in > parentheses above the affected note) an alteration that may be introduced > by a performer to respect the movement within a particular hexachord. It > is not a hard-wired part of the score or the encoding, but of course it is > unavailable to the performer unless it is indicated in some way. It is not > cautionary; it is optional. > > > > The later-music track usually uses cautionary accidents to warn the > performer of something that is ingrained in the score might be missed in > the visual environment, especially return to the key indicated in th4 > signature after a modulation or an alteration that carries over a > page-turn. > > > > At the encoding level, no special provision is required for the second. > The accommodation is in the rendering, which is up to the editor. > > > > Regards to all, > > > > Eleanor > > > > > > Eleanor Selfridge-Field > > Consulting Professor, Music > > 541 Lasuen Mall > > Braun Music Center #129 > > Stanford University > > Stanford, CA 94305-3076, USA > > esfield at stanford.edu > > Profile: https://profiles.stanford.edu/eleanor-selfridge-field > > > > > > *From:* mei-l [mailto:mei-l-bounces at lists.uni-paderborn.de] *On Behalf Of > *Erik Ronström > *Sent:* Monday, April 04, 2016 5:54 AM > *To:* Music Encoding Initiative > *Subject:* Re: [MEI-L] What is a cautionary accidental? > > > > Quoting ”Behind Bars” : > > > > ”An accidental that is repeated later in a bar, even though it is not > strictly necessary, is called a ’cautionary’ (or ’reminder’ or ’courtesy’) > accidental. Cautionary accidentals confirm the pitch of a note that might > otherwise be questioned […] Atonal and highly chromatic idioms should > include cautionary accidentals to assist accurate reading.” > > > > Erik > > > > > > > > 4 apr 2016 kl. 14:40 skrev Anna Plaksin : > > > > Dear list, > > > > while I was looking for a way to deal with musica ficta signs, I came > across the @func attribute. Whereas the definition of an editorial > accidental is clear to me, I’m wondering how a cautionary accidental can be > understood. I didn’t find any further explanations for this particular > attribute. > > Or I try it the other way round: Does someone know a way to encode musica > ficta accidentals? How could they be distinguished from other explicit > accidentals without declaring them as editorial – because they are written > in the source. > > > > Thanks in advance for sharing your wisdom with me. :-) > > > > Best wishes, > > Anna > > > > > > > > _______________________________________________ > mei-l mailing list > mei-l at lists.uni-paderborn.de > https://lists.uni-paderborn.de/mailman/listinfo/mei-l > > > > _______________________________________________ > mei-l mailing list > mei-l at lists.uni-paderborn.de > https://lists.uni-paderborn.de/mailman/listinfo/mei-l > > -- Richard Freedman John C. Whitehead Professor of Music Associate Provost for Curricular Development Haverford College Haverford, PA 19041 610-896-1007 610-896-4902 (fax) http://www.haverford.edu/users/rfreedma -------------- next part -------------- An HTML attachment was scrubbed... URL: From pdr4h at eservices.virginia.edu Thu Apr 7 19:40:07 2016 From: pdr4h at eservices.virginia.edu (Roland, Perry D. (pdr4h)) Date: Thu, 7 Apr 2016 17:40:07 +0000 Subject: [MEI-L] Review of MEI in JAMS Message-ID: Hi everyone, In case you haven't seen it already, I'd like to call your attention to Tim Crawford and Richard Lewis' wonderful review of MEI in the Journal of the American Musicological Society, Vol. 69 No. 1, Spring 2016 (pp. 273-285) DOI: 10.1525/jams.2016.69.1.273. The real reason for MEI's success is the community that has rallied around it. Thanks to everyone for your generous contributions. I'm very lucky to work with such a talented and enthusiastic group. Best wishes, -- p. _________________________________________ Perry Roland Metadata Librarian for Research and Scholarship University of Virginia P. O. Box 400874 Charlottesville, VA 22904 434-982-2702 (w) pdr4h (at) virginia (dot) edu -------------- next part -------------- An HTML attachment was scrubbed... URL: From annplaksin at gmx.net Fri Apr 8 09:29:58 2016 From: annplaksin at gmx.net (Anna Plaksin) Date: Fri, 8 Apr 2016 09:29:58 +0200 Subject: [MEI-L] What is a cautionary accidental? In-Reply-To: References: <000001d18e6f$3ac09a30$b041ce90$@gmx.net> Message-ID: <006401d19168$74e9f110$5ebdd330$@gmx.net> Hello Erik, Eleanor and Richard, you all gave me a lot to think about and some clues how to deal with my special case. So, thank you very much for answering my question(s). Best wishes, Anna Von: mei-l [mailto:mei-l-bounces at lists.uni-paderborn.de] Im Auftrag von Richard Freedman Gesendet: Dienstag, 5. April 2016 03:27 An: Music Encoding Initiative Betreff: Re: [MEI-L] What is a cautionary accidental? For the Renaissance tradition of the cautionary accidental, I would suggest looking at the work of Don Harran: Harrán, Don, (Author). "New evidence for musica ficta: the cautionary sign." Journal Of The American Musicological Society 29, no. 1 (Spring 1976): 77-98. Richa Richarichard If you On Mon, Apr 4, 2016 at 6:03 PM, Eleanor Selfridge-Field > wrote: Hi, “Behind Bars” does not give the whole story. The musica ficta track (Renaissance and early baroque music) involves providing (usually in parentheses above the affected note) an alteration that may be introduced by a performer to respect the movement within a particular hexachord. It is not a hard-wired part of the score or the encoding, but of course it is unavailable to the performer unless it is indicated in some way. It is not cautionary; it is optional. The later-music track usually uses cautionary accidents to warn the performer of something that is ingrained in the score might be missed in the visual environment, especially return to the key indicated in th4 signature after a modulation or an alteration that carries over a page-turn. At the encoding level, no special provision is required for the second. The accommodation is in the rendering, which is up to the editor. Regards to all, Eleanor Eleanor Selfridge-Field Consulting Professor, Music 541 Lasuen Mall Braun Music Center #129 Stanford University Stanford, CA 94305-3076, USA esfield at stanford.edu Profile: https://profiles.stanford.edu/eleanor-selfridge-field From: mei-l [mailto:mei-l-bounces at lists.uni-paderborn.de ] On Behalf Of Erik Ronström Sent: Monday, April 04, 2016 5:54 AM To: Music Encoding Initiative > Subject: Re: [MEI-L] What is a cautionary accidental? Quoting ”Behind Bars” : ”An accidental that is repeated later in a bar, even though it is not strictly necessary, is called a ’cautionary’ (or ’reminder’ or ’courtesy’) accidental. Cautionary accidentals confirm the pitch of a note that might otherwise be questioned […] Atonal and highly chromatic idioms should include cautionary accidentals to assist accurate reading.” Erik 4 apr 2016 kl. 14:40 skrev Anna Plaksin >: Dear list, while I was looking for a way to deal with musica ficta signs, I came across the @func attribute. Whereas the definition of an editorial accidental is clear to me, I’m wondering how a cautionary accidental can be understood. I didn’t find any further explanations for this particular attribute. Or I try it the other way round: Does someone know a way to encode musica ficta accidentals? How could they be distinguished from other explicit accidentals without declaring them as editorial – because they are written in the source. Thanks in advance for sharing your wisdom with me. :-) Best wishes, Anna _______________________________________________ mei-l mailing list mei-l at lists.uni-paderborn.de https://lists.uni-paderborn.de/mailman/listinfo/mei-l _______________________________________________ mei-l mailing list mei-l at lists.uni-paderborn.de https://lists.uni-paderborn.de/mailman/listinfo/mei-l -- Richard Freedman John C. Whitehead Professor of Music Associate Provost for Curricular Development Haverford College Haverford, PA 19041 610-896-1007 610-896-4902 (fax) http://www.haverford.edu/users/rfreedma -------------- nächster Teil -------------- Ein Dateianhang mit HTML-Daten wurde abgetrennt... URL: From richard at rjlewis.me.uk Thu Apr 14 13:11:02 2016 From: richard at rjlewis.me.uk (Richard Lewis) Date: Thu, 14 Apr 2016 12:11:02 +0100 Subject: [MEI-L] Digital Musicology workshop at DH@Ox Summer School Message-ID: <878u0gh2d5.wl-richard@rjlewis.me.uk> INVITATION TO REGISTER FOR WORKSHOP Digital Musicology: Applied computational and informatics methods for enhancing musicology DATES: 4--8 July 2016 REGISTRATION: until 6 June 2016. A wealth of music and music-related information is now available digitally, offering tantalizing possibilities for digital musicologies. These resources include large collections of audio and scores, bibliographic and biographic data, and performance ephemera -- not to mention the ‘hidden’ existence of these in other digital content. With such large and wide ranging opportunities come new challenges in methods, principally in adapting technological solutions to assist musicologists in identifying, studying, and disseminating scholarly insights from amongst this ‘data deluge’. This workshop provides an introduction to computational and informatics methods that can be, and have been, successfully applied to musicology. Many of these techniques have their foundations in computer science, library and information science, mathematics and most recently Music Information Retrieval (MIR); sessions are delivered by expert practitioners from these fields and presented in the context of their collaborations with musicologists, and by musicologists relating their experiences of these multidisciplinary investigations. The workshop comprises a series of lectures and hands-on sessions, supplemented with reports from musicology research exemplars. Theoretical lectures are paired with practical sessions in which attendees are guided through their own exploration of the topics and tools covered. Laptops will be loaned to attendees with the appropriate specialised software installed and preconfigured. Summer School site: Contact: events at it.ox.ac.uk SCHOLARSHIPS AND BURSARIES A number of scholarships and bursaries are available for the Summer School, including some specifically for the Digital Musicology workshop: For others, please see: -- -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Richard Lewis Computing, Goldsmiths' College t: +44 (0)20 7078 5203 @: lewisrichard http://www.transforming-musicology.org/ 905C D796 12CD 4C6E CBFB 69DA EFCE DCDF 71D7 D455 -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= From craigsapp at gmail.com Tue Apr 19 07:26:34 2016 From: craigsapp at gmail.com (Craig Sapp) Date: Mon, 18 Apr 2016 22:26:34 -0700 Subject: [MEI-L] Postdoc opportunity in Belgium Message-ID: *Funded Postdoc at the University of Brussels, 2016–17* The University Libre de Bruxelles (ULB) is pleased to announce a one-year postdoc for the term September 2016–August 2017. The position is funded from the inaugural "Prix Banneux," recently awarded to Professor Jesse Rodin (Stanford University); Professor Rodin will select the candidate from the pool of applicants. The candidate should be a specialist in late-medieval or Renaissance music, with a focus on the region of Wallonia. Special preference will be given to specialists in fifteenth-century music, and/or to candidates with programming experience who could assist in the activities of the Josquin Research Project (josquin.stanford.edu) in collaboration with Craig Sapp. The candidate will have access to all the resources of the ULB, and will be expected to work full-time (i.e., 38 hours per week) on research, of which approximately 20 hours per week should be devoted to collaborative projects with Professor Rodin and students at the University of Brussels. *Conditions* –Ph.D. awarded between September 2008 and August 2016 –The candidate must not have lived or had her/his main professional activity in Belgium for more than 24 months during the period Sept. 2013–Aug. 2016. –Total monthly salary (net): at least €2296 euros. (This amount is subject to reevaluation based on the candidate's experience.) For candidates from the U.S.A., the E.U., and several other countries, the salary is not taxed. –The candidate will be required to live in Belgium and participate actively in the life of the university. *Application* To apply, send a cover letter, c.v., and contact information for three references to Marie-Alexis Colin (mcolin at ulb.ac.be) and Jesse Rodin ( jrodin at stanford.edu). Application deadline: 31 May. ᐧ -------------- next part -------------- An HTML attachment was scrubbed... URL: From andrew.hankinson at mail.mcgill.ca Wed Apr 27 21:02:14 2016 From: andrew.hankinson at mail.mcgill.ca (Andrew Hankinson) Date: Wed, 27 Apr 2016 15:02:14 -0400 Subject: [MEI-L] MEI on Twitter Message-ID: <692E4B49-116A-4329-B479-658164EF8699@mail.mcgill.ca> Hi all, MEI now has a Twitter account, just in time for MEC 2016. Follow @MusicEncoding. If you're of the social networks persuasion and want to help maintain the Twitter stream, please get in touch with me. Cheers, -Andrew From kepper at edirom.de Wed Apr 27 22:41:22 2016 From: kepper at edirom.de (Johannes Kepper) Date: Wed, 27 Apr 2016 22:41:22 +0200 Subject: [MEI-L] =?utf-8?q?MEI_Community_Meeting_in_Montr=C3=A9al?= Message-ID: Dear all, This is gentle reminder that the MEI Community Meeting [1] will take place on Friday morning [2] during our upcoming Music Encoding Conference in Montréal. No matter how much prior affiliation you had with MEI, your interest in MEI and music encoding in general qualifies you as member of the MEI community. So even if you're new to MEI, and you're attending MEC for the first time, you're happily invited to attend this very informal meeting. Among other things, you will learn where MEC will be hosted in 2017… I'm looking forward to meet you all at a wonderful conference in Montréal. Best regards, Johannes [1] formerly known as "MEI Members Meeting" [2] 9-10am, preceding the "Hackathon" -------------- nächster Teil -------------- Ein Dateianhang mit Binärdaten wurde abgetrennt... Dateiname : signature.asc Dateityp : application/pgp-signature Dateigröße : 496 bytes Beschreibung: Message signed with OpenPGP using GPGMail URL : From richard at rjlewis.me.uk Tue May 3 13:49:33 2016 From: richard at rjlewis.me.uk (Richard Lewis) Date: Tue, 03 May 2016 12:49:33 +0100 Subject: [MEI-L] C@merata: Querying Musical Scores with English Noun Phrases Message-ID: <87a8k7qs36.wl-richard@rjlewis.me.uk> Registration for the C at merata 2016 task at MediaEval is now open! There are 200 questions each year which a participant's system has to answer automatically. A question is a short string "F4 crotchet in the oboe" and it comes with a classical music score in MusicXML. The required answer to this question is a set of one or more passages like this: [ 3/4, 2, 5:1-5:2 ] [ 3/4, 2, 29:1-29:2 ] [ 3/4, 2, 64:3-64:4 ] [ 3/4, 2, 7:5-7:6 ] These specify exact places in the score where the oboe is playing a note of a particular pitch (F4) and length (crotchet). Evaluation of participant runs is by forms of Precision, Recall and F-Measure which we have devised for the purpose. The long-term aim of C at merata is to deepen our knowledge of computer musicology by investigating the link between musicological texts and the music itself. Now in its third year, the task suits musicologists who have a knowledge of programming and computer scientists who have a knowledge of Western classical music. In particular, if you are a Python programmer we have tools which can help you get started. Each year, the questions become more complicated. This year, they are being derived from various sources including music theory exam papers, musicological text books and Grove's Dictionary of Music and Musicians (Grove Online). Task organizers Richard Sutcliffe, University of Essex, UK Eduard Hovy, Carnegie-Mellon University, USA Deane L. Root, University of Pittsburgh, USA Chris Fox, University of Essex, UK Richard Lewis, Goldsmiths College, University of London, UK Tom Collins, De Montfort University, UK Task schedule Now: Registration for the task 3rd May: Release of training data 13th-17th June: Download of questions, upload of answers 24th June: Results to participants 8th July: Submission of draft papers for review 30th September: Submission of final papers to MediaEval organisers 20th-21st October: MediaEval Workshop in Amsterdam, right after ACM MM 2016 For further information, including all the papers from C at merata 2014 and C at merata 2015 see http://csee.essex.ac.uk/camerata and http://www.multimediaeval.org/mediaeval2016/camerata. Registration for the task is at https://www.aanmelder.nl/mediaeval2016/subscribe. For any enquiries, please contact Richard Sutcliffe: r s u t c l (at) essex (dot) ac (dot) uk. -- -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Richard Lewis j: ironchicken at jabber.earth.li @: lewisrichard http://web.rjlewis.me.uk/ -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- From andrew.hankinson at mail.mcgill.ca Thu May 5 12:02:45 2016 From: andrew.hankinson at mail.mcgill.ca (Andrew Hankinson) Date: Thu, 5 May 2016 06:02:45 -0400 Subject: [MEI-L] Public Lecture and Concert at MEC 2016 Message-ID: Hi everyone, I wanted to draw your attention to updated information on the conference website about a special event we will be hosting on the evening of Friday, 20 May, coinciding with the conclusion of MEC 2016. "2000 Years of Seeing Sounds: The Story of Music Notation" is a public lecture and concert, co-hosted by Banting Postdoctoral Fellow Karen Desmond and Montreal-based vocal ensemble VivaVoce, conducted by Peter Schubert. http://music-encoding.org/community/conference/mec2016/public-lecture-and-concert/ Attendance is open to the general public, and admittance is free. We are looking forward to welcoming you all in Montréal in just a few short weeks! -Andrew ---- 2000 Years of Seeing Sounds: The Story of Music Notation How do we “see” sound? Digital encoding of music for computers is merely the most recent in a long line of methods for communicating music from one person to another. For centuries the only way people could share music was to transcribe sounds as visual symbols on parchment and paper. The Music Encoding Conference (May 17-20) ends in a whirlwind tour of the early methods of “seeing” sound, featuring discourse by Karen Desmond and musical illustrations by members of VivaVoce, conducted by Peter Schubert. This live performance and dialogue will explore the earliest forms of notation — which is to say: from none at all; to the little mnemonic signs above words; through to the eleventh century where our present-day notation had in essence developed. The lecture illustrate how notation limited what tunes could be written, while on the other hand made possible crazy, complicated tunes. The examples will be sung and the notation displayed. Date: May 20, 2016 Place: Redpath Hall, 3461 McTavish, Metro McGill Time: 7:00 p.m. Price: Free Admission About Karen Desmond: Karen Desmond is a musicologist and medievalist whose research focuses on the intellectual and aesthetic experience of music in the thirteenth and fourteenth centuries. She is currently a Banting Fellow (awarded by the Canadian SSHRC) at the Schulich School of Music, McGill University. Her monograph—Ars nova in Music and Medieval Thought: Making it New, 1300-1350 (under contract with Cambridge University Press)—explores the cultural and intellectual contexts that saw the emergence of new music-theoretical currents in fourteenth-century France. Desmond’s research into music notation employs conceptual models and tools from other disciplines to describe the ways in which music changes over time. http://www.arsmusicae.org/wordpress About Viva Voce: Each VivaVoce concert is a uniquely captivating experience. The award-winning ensemble seduces listeners with virtuosic performances while conductor Peter Schubert provides a “way in” to the music, revealing its secrets with wit and charm. Critics have praised the angelic purity of VivaVoce’s tone in Renaissance motets and the rigor and intensity of their performances of contemporary repertoire. Whether singing Josquin, Brahms, or Berio, VivaVoce embodies the essence of the composer’s intentions. http://www.vivavoce-montreal.com/ About Peter Schubert: Peter Schubert’s understanding of choral music is informed by his years of study with legendary pedagogue Nadia Boulanger, conducting study with Helmuth Rilling, and doctoral studies in music theory at Columbia University in New York City. A professor of music theory at McGill University since 1990, Schubert has published two textbooks on counterpoint and numerous articles on Renaissance music. Schubert has an astonishing ability to communicate complex and nuanced ideas about music in a way that charms both musical neophytes and experienced musicians. From research at tido-music.com Mon May 16 17:18:01 2016 From: research at tido-music.com (Zoltan Komives) Date: Mon, 16 May 2016 16:18:01 +0100 Subject: [MEI-L] Tido open source repositories Message-ID: Hello All, At Tido, we have just made three of our repositories public, and we would welcome comments and discussions in this list, via GitHub Issues and/or in person during MEC2016 this week in Montreal. The repositories include: 1. a compact, tightly constrained, MEI customization, to illustrate how Tido's uses MEI to encode music notation, and to document its application profile. - Source: https://github.com/tido/mei-customization - Compiled schema and guidelines: http://tido.github.io/mei-customization/ 2. and two supporting JavaScript libraries: - https://github.com/tido/mei-traversals - a collection of semantic traversal functions - https://github.com/tido/mei-validation - simple wrapper library to run validation scripts in Node.js We hope the customization can also serve as starting point for a common basic MEI format, as discussed in issue #285 . Looking forward to seeing many of you in Montreal. Best wishes, Zoltan (Tido) -- www.tido-music.com Tido (UK) Ltd, 2–6 Baches Street, London N1 6DN, United Kingdom. Disclaimer: The information in this e-mail including any attachments is confidential and may be legally privileged. If you have received this message in error, please contact the sender immediately and delete this message and any copies from your computer and network. The unauthorized use, distribution, copying or alteration of this e-mail and any attachments is strictly forbidden. -------------- next part -------------- An HTML attachment was scrubbed... URL: From andrew.hankinson at mail.mcgill.ca Mon May 16 17:37:20 2016 From: andrew.hankinson at mail.mcgill.ca (Andrew Hankinson) Date: Mon, 16 May 2016 11:37:20 -0400 Subject: [MEI-L] Tido open source repositories In-Reply-To: <12959_1463411990_5739E516_12959_75_1_CADGv7xrp82KkJwY3yCjsJCn4pnKVqzeUPy=wpVpvuT76KJUZiA@mail.gmail.com> References: <12959_1463411990_5739E516_12959_75_1_CADGv7xrp82KkJwY3yCjsJCn4pnKVqzeUPy=wpVpvuT76KJUZiA@mail.gmail.com> Message-ID: <98556AA1-EE1E-42CE-BA25-9F499DB071F6@mail.mcgill.ca> This is so cool, Zoltan! Thank you. Looking forward to seeing you all this week, -Andrew > On May 16, 2016, at 11:18 AM, Zoltan Komives wrote: > > Hello All, > > At Tido, we have just made three of our repositories public, and we would welcome comments and discussions in this list, via GitHub Issues and/or in person during MEC2016 this week in Montreal. > > The repositories include: > 1. a compact, tightly constrained, MEI customization, to illustrate how Tido's uses MEI to encode music notation, and to document its application profile. > - Source: https://github.com/tido/mei-customization > - Compiled schema and guidelines: http://tido.github.io/mei-customization/ > > 2. and two supporting JavaScript libraries: > - https://github.com/tido/mei-traversals - a collection of semantic traversal functions > - https://github.com/tido/mei-validation - simple wrapper library to run validation scripts in Node.js > > We hope the customization can also serve as starting point for a common basic MEI format, as discussed in issue #285 . > > Looking forward to seeing many of you in Montreal. > > Best wishes, > > Zoltan > (Tido) > > www.tido-music.com > > Tido (UK) Ltd, 2–6 Baches Street, London N1 6DN, United Kingdom. Disclaimer: The information in this e-mail including any attachments is confidential and may be legally privileged. If you have received this message in error, please contact the sender immediately and delete this message and any copies from your computer and network. The unauthorized use, distribution, copying or alteration of this e-mail and any attachments is strictly forbidden. > _______________________________________________ > mei-l mailing list > mei-l at lists.uni-paderborn.de > https://lists.uni-paderborn.de/mailman/listinfo/mei-l -------------- next part -------------- An HTML attachment was scrubbed... URL: From lxpugin at gmail.com Tue May 17 23:49:02 2016 From: lxpugin at gmail.com (Laurent Pugin) Date: Tue, 17 May 2016 17:49:02 -0400 Subject: [MEI-L] Verovio update Message-ID: Hello, We have just released a new version of Verovio and updated the website ( http://www.verovio.org). Since the conference in Florence many features have been added and improved. They include: - Better handling of slurs - Support for dynamics, hairpin, tempo indications and directives - Support for editorial markup (add, corr, sic. etc.) - Support for tremolos (bTrem and fTrem) - Support for repeats (mRpt, multiRpt, etc.) - Improved mensural notation support (thanks to Don Byrd) Go to http://www.verovio.org/features.xhtml for more information about it - MIDI output (thanks to the work of Jenny Xing at UVa and using Craig Sapp's MIDI library) http://www.verovio.org/midi.xhtml - Basic support for MusicXML import http://www.verovio.org/musicxml.html The MEI Viewer has been updated with additional examples that provide a good overview of the current status: http://www.verovio.org/mei-viewer.xhtml?file=examples/downloads/Schubert_Lindenbaum.mei http://www.verovio.org/mei-viewer.xhtml?file=examples/downloads/Chopin_Etude_op.10_no.9.mei http://www.verovio.org/mei-viewer.xhtml?file=examples/downloads/Brahms_StringQuartet_Op51_No1.mei Looking forward to seeing most of you in Montreal, Best wishes, Laurent -------------- next part -------------- An HTML attachment was scrubbed... URL: From zoltan.komives at tido-music.com Mon May 23 16:06:44 2016 From: zoltan.komives at tido-music.com (Zoltan Komives) Date: Mon, 23 May 2016 15:06:44 +0100 Subject: [MEI-L] MEC2016 Follow up: Customizations Message-ID: Hi All, It was a great pleasure to see so many of you last week in Montreal. It was also great to see such a welcoming reception of the Tido customization . For those of you who weren't there, it sparked (or re-sparked) a lively discussion about issue #285 , and eventually turned into a 2-hour long workshop on Friday. We discussed several technical details, as well as brainstormed for a name: currently MEI Go! (with or without the exclamation mark) seems to be the favourite. Raffaele and I were trying to capture the moment and the resulting, somewhat messy notes are available here (now for editing too, I realise it was shared for viewing only with most participants during the meeting, apologies for that!). Due to the fragmentary nature of it, and since it may even contain errors, I suggest we consider it a record of what was discussed, rather than what was decided. I think the next step would be to decide what repository MEI Go! should live in, and compile the notes into github issues within that repository. Even though it is dependent on the main MEI schema, it may be easier to keep track of its development in a separate repository. Since our test framework received some attention too, I propose to simply fork https://github.com/tido/mei-customization within https://github.com/music-encoding, rename it to MEI Go! and take it from there. Zoltan -- www.tido-music.com Tido (UK) Ltd, 2–6 Baches Street, London N1 6DN, United Kingdom. Disclaimer: The information in this e-mail including any attachments is confidential and may be legally privileged. If you have received this message in error, please contact the sender immediately and delete this message and any copies from your computer and network. The unauthorized use, distribution, copying or alteration of this e-mail and any attachments is strictly forbidden. -------------- next part -------------- An HTML attachment was scrubbed... URL: From andrew.hankinson at mail.mcgill.ca Mon May 23 20:46:05 2016 From: andrew.hankinson at mail.mcgill.ca (Andrew Hankinson) Date: Mon, 23 May 2016 14:46:05 -0400 Subject: [MEI-L] Music Encoding Conference Wrapup Message-ID: <31EC5545-6C76-4032-9915-473E6D474376@mail.mcgill.ca> Dear MEI Community, From all of us here in Montreal, it was an honour and a pleasure to host the 2016 conference and we hope it was a valuable experience for everyone. This year we had: - 67 registered participants from 10 countries - 11 student attendees - 20 paper presentations and 12 poster presentations - 2 keynote speakers, Julia Flanders and Richard Freedman - 3 pre-conference workshops - 3 Special Interest Group meetings (Neumes, Mensural, Metadata), with a number of other "gauging interest" meetings for further special interest groups. - a number of smaller project-based meetings on our Friday "unconference" day whose sizes ranged from 2-20 people. Additionally, the public lecture and concert on Friday night, presented by Karen Desmond and VivaVoce, was well attended and perfectly captured the intersection our (somewhat) esoteric field of music encoding research and public engagement for a general audience. Thank you again to Franz Kelnreiter and the program committee for putting together an engaging and diverse program. We are looking forward to seeing you all next year in Tours, France! For the MEC 2016 organizing committee, Andrew Hankinson Ichiro Fujinaga From andrew.hankinson at mail.mcgill.ca Tue May 24 15:42:14 2016 From: andrew.hankinson at mail.mcgill.ca (Andrew Hankinson) Date: Tue, 24 May 2016 09:42:14 -0400 Subject: [MEI-L] Fwd: MEI Customisation References: <4c7d90d2-a568-63d9-0f76-a0f06f57b354@netcologne.de> Message-ID: <1181E2D9-350F-4875-8A61-7CB2B2D02022@mail.mcgill.ca> Hi James, I'm forwarding your message to the W3C list to MEI-L to answer your questions. I don't really want to spam their list... I'll answer inline below, prefixed with AH for my responses. > Hi Zoltan, All, > >> Tido's recently published MEI customization sparked a lively discussion... > and >> For more information on MEI Go! please keep an eye on the MEI-L mailing list for updates and discussions. While it may not be the solution that the Community Group is looking for, I would like to draw attention to this effort as point of reference. > > I joined the MEI-L mailing list yesterday. > MEI customization says >> We hope that this customisation can also be the starting point for a common basic MEI customisation to be shared between several projects in future. We welcome comments and suggestions through GitHub issues. > I've decided to post my comments and suggestions (questions actually) here, rather than on GitHub. Please repost there and/or to MEI-L if you think that's a good idea. > > I'm a beginner with MEI customisation, and need some help: > > Briefly: My problem with current encodings of CWMN is that they all assume that duration symbols have fixed meanings in a score, and that measures therefore "add up" at the symbol level. This ignores the performance practice tradition that is always associated with any humanly readable notation. In Mozart, for example, the last quaver under a slur is never played in the same way as the first. Ignoring performance practice traditions goes back at least to the invention of the metronome in the 19th century. I'm old enough to remember how awful the first computer renditions of Bach sounded in the early 1980s... > I also think that the famous collapse around 1900 had more to do with the disintegration of fixed tempi, than with the exhaustion of harmonic possibilities. The notation collapsed because the conventions make no sense in the absence of humanly perceptible tempo. AH: MEI makes no such assumptions. For rhythm and duration we differentiate between "@dur" (written duration) and "@dur.ges" (performed duration). Both of these are available on note and rest objects. > > Whether this analysis is correct or not is, however, immaterial. :-) > > I want to make an MEI customisation that uses most of the symbols that are used by CWMN, but without assuming tempo. If there is no tempo, then neither tuplets nor grace-notes make sense. It should also be possible for the description of more than one temporal instantiation to be stored inside the XML elements that represent the score's graphics. AH: I'm not sure I understand this. Tempo is generally expressed by a playback mechanism. It can be hinted at in the encoding, but most systems have controls for overriding it. > I think that CWMN (as defined by both MusicXML and your project) could be regarded as a superset of such a customisation. If the default temporal realisation of such a score defined all the duration symbols to have fixed meanings, then could be made to add up at the symbol level by adding tuplet symbols (as annotations) and turning some notes into grace-notes. AH: We like to think of it in the opposite: MEI is a superset of everything that is possible in notation, while CWMN is one subset of this. I'm really not sure where you're going with the duration symbols and fixed meanings, though. Why would you be adding gracenotes and tuplets? > > One advantage of having a tempo-less customisation would be that lossless transcriptions of recordings can be made, without going through "quantisation". I compose with milliseconds... AH: MEI doesn't assume tempo. In fact, MEI doesn't assume anything. The "@dur.ges" attribute on note objects allows you to record duration on "time-consuming" elements (primarily notes and rests) in terms of "ppq (MIDI clicks and MusicXML 'divisions'), Humdrum **recip values, beats, seconds, or mensural duration values." > > So my initial questions are: > 1. Can elements be redefined so that they do not have to add up at the symbol level? The different s in the measure must however add up in real time (milliseconds) in any one temporal realisation stored in the score. AH: Yes-ish. Measures do not have a performed duration, they're just assumed to be the performed duration of the "time-consuming" child elements. > 2. Can you imagine such a hierarchy of customisations? I'm also thinking of the container hierarchy that could become part of the W3C standard for describing any polyphonic music notation. AH: A customization is not arranged in a hierarchy. The primary reason for a customization is to produce a schema that will validate an encoding. > > All the best, > James > > -- > http://james-ingram-act-two.de > https://github.com/notator -------------- next part -------------- An HTML attachment was scrubbed... URL: From donbyrd at indiana.edu Wed May 25 02:10:25 2016 From: donbyrd at indiana.edu (Byrd, Donald A.) Date: Wed, 25 May 2016 00:10:25 +0000 Subject: [MEI-L] Taxonomy, list, and examples of features for music representation, esp. CWMN Message-ID: <4341ACDE-7F47-4104-B201-7B4C4338899D@indiana.edu> All-- As many of you know, I've been working for many years on classifying features of CWMN and of music representation in general, and on finding examples of the more thought-provoking things, and I'd like to offer this material to the MEI community as a resource for whatever purpose. What led me to put together this message is the discussion at MEC last week of what features MEI Go (or Basic or whatever it ends up being called) should support. My central document is: * Byrd, Donald, & Isaacson, Eric (2003; rev. 2016). A Music Representation Requirement Specification for Academia. http://homes.soic.indiana.edu/donbyrd/Papers/MusicRepReqForAcad.doc That's a revision of an article that appeared in Computer Music Journal in 2003. It includes a taxonomony and a list of features, each of which is numbered; labelled according to the domain or domains (Logical, Performance, Graphic, Analytic) it belongs in; and assigned a priority (Required, Very Desirable, or Desirable). Here are several related documents; all but the first are keyed to the item numbers in the Representation Requirement Specification. * My 1984 dissertation, _Music Notation by Computer_, which is available online in scanned page-image form: http://homes.soic.indiana.edu/donbyrd/Papers/DonDissScanned.pdf * More Counterexamples In Conventional Music Notation (a supplement to the list in my dissertation): http://homes.soic.indiana.edu/donbyrd/MoreCMNCounterexamples.htm * Extremes of Conventional Music Notation: http://homes.soic.indiana.edu/donbyrd/CMNExtremes.htm * Gallery of Interesting Music Notation: http://homes.soic.indiana.edu/donbyrd/InterestingMusicNotation.html I also have a list of music-representation features for ethnomusicology, really just a draft but potentially useful as is; it's available on request. --Don --- Donald Byrd Woodrow Wilson Indiana Teaching Fellow Adjunct Associate Professor of Informatics Visiting Scientist, Research Technologies Indiana University Bloomington From j.ingram at netcologne.de Wed May 25 13:14:12 2016 From: j.ingram at netcologne.de (James Ingram) Date: Wed, 25 May 2016 13:14:12 +0200 Subject: [MEI-L] Fwd: MEI Customisation In-Reply-To: <1181E2D9-350F-4875-8A61-7CB2B2D02022@mail.mcgill.ca> References: <4c7d90d2-a568-63d9-0f76-a0f06f57b354@netcologne.de> <1181E2D9-350F-4875-8A61-7CB2B2D02022@mail.mcgill.ca> Message-ID: Hi Andrew, Zoltan, Zoltan: thanks for your answers to this thread on the W3C CG list. This reply to Andrew (below) continues the thread here, so its also a reply to what you said. > AH: For rhythm and duration we differentiate between "@dur" (written > duration) and "@dur.ges" (performed duration). Both of these are > available on note and rest objects. Yes, that's one of the problems -- see below. :-) >> JI: I want to make an MEI customisation that uses most of the symbols >> that are used by CWMN, but without assuming tempo. If there is no >> tempo, then neither tuplets nor grace-notes make sense. It should >> also be possible for the description of /more than one/ temporal >> instantiation to be stored inside the XML elements that represent the >> score's graphics. > > AH: I'm not sure I understand this. Tempo is generally expressed by a > playback mechanism. It can be hinted at in the encoding, but most > systems have controls for overriding it. The @dur attribute describes both the shape of the symbol and its meaning (the number of beats it represents in a ). Beats mean tempo, and that's a problem if I'm trying to create a customisation that does without it. I want to separate the meaning of each duration symbol from its visual appearance by putting the temporal information in an enclosed element. Lets call the enclosed element