From weigl at mdw.ac.at Fri Jan 12 15:09:33 2024 From: weigl at mdw.ac.at (David M. Weigl) Date: Fri, 12 Jan 2024 15:09:33 +0100 Subject: [MEI-L] 2nd CfP: 11th International Conference on Digital Libraries for Musicology (DLfM 2024) Message-ID: <67b3096a-1d45-4087-96cf-d041991592a4@mdw.ac.at> 2nd CfP: 11th International Conference on Digital Libraries for Musicology (In Association with IAML 2024), June 27, Stellenbosch University Konservatorium, Stellenbosch, South Africa CALL FOR PAPERS AND POSTERS DLfM welcomes contributions related to any aspect of digital libraries and musicology, including topics related to musical archiving and retrieval, cataloguing and classification, musical databases, special collections, music encodings and representations, computational musicology, or music information retrieval (MIR). As this will be the first iteration of DLfM taking place on the African continent, we strongly encourage proposals from individuals working on music in Africa within various disciplines and from a range of perspectives, particularly addressing this year's theme: Musicology of the Global South: The Role of Digital Libraries The organizing committee especially encourages submissions of papers and posters that address this theme, however, we welcome all submissions addressing all topics that fall under the scope of DLfM. Specific examples of topics traditionally covered at DLfM can be found at https://dlfm.web.ox.ac.uk. DLfM 2024 proceedings of full and short papers will be published in the ACM Digital Library through ICPS. We are aware of a growing number of institutional and funder requirements for Open Access publication, and recognise that authors will need to comply with any policies which apply to them. Further advice is available from the ACM at https://www.acm.org/publications/openaccess#h-green-open-access IMPORTANT DATES (AoE) * Paper (full paper and short paper) submission deadline: February 12th, 2024 * Notification of paper acceptance: April 8th, 2024 * Poster submission deadline: April 22nd, 2024 * Camera-ready submission deadline (full and short papers): May 13th, 2024 * Conference registration deadline: June 17th, 2024 * Conference: June 27th, Stellenbosch, South Africa Note that at least one author must be registered by the conference registration deadline in order for accepted submissions to be included in the conference programme. SUBMISSIONS Paper submissions * Paper length: We invite full papers (up to 8 pages excluding references) or short papers (up to 4 pages excluding references). * Submissions: work is submitted to DLfM via EasyChair (https://easychair.org/conferences/?conf=dlfm2024). * Format: Submissions must be in English, formatted according to the appropriate ACM template (see template below), in PDF format, and A4 size. Authors will need to follow ACM's instructions for formatting carefully. Assistance will be provided from the proceedings chair. * Templates: Authors must use either the LaTeX template (https://portalparts.acm.org/hippo/latex_templates/acmart-primary.zip, use the 'sigconf', 'authordraft', and 'anonymous' settings for initial submission), the LaTeX + Overleaf template (https://www.overleaf.com/latex/templates/association-for-computing-machinery-acm-sig-proceedings-template/bmvfhcdnxfty, use the 'sigconf', 'authordraft', and 'anonymous' settings for initial submission), or the MS Word template (https://www.acm.org/binaries/content/assets/publications/word_style/interim-template-style/interim-layout.docx). Historically, LaTeX versions have been easier to process into camera-ready versions. Therefore, we encourage all authors to use the LaTeX (or LaTeX + Overleaf) template if possible. * Page limits for submitted papers apply to all text, excluding the bibliography (i.e., references can be included on pages over the specified limits). Poster submissions * Submission: The initial poster submission consists of an abstract which outlines both the scholarly content and broad details of the proposed layout in 500 words or fewer. This is to be sent by e-mail to dlfm2024 at easychair.org * Format: Information on printed poster formats will be provided on acceptance of the poster abstract. All accepted posters will also be required to submit a digital copy before the conference date to be shared publicly on the conference web page. Review and Ethics Papers (long and short) will be double blind peer reviewed by at least 3 members of the programme committee. For accepted paper submissions, at least one author must register for the conference (as a presenter) by the conference registration deadline. DLfM conforms to the usual conventions for publication ethics. For instance, we endeavour to provide an effective reviewing process that is fair to all submissions, with reviews from experts in the subject area. In turn, we expect authors to ensure anonymity in the original submission as far as practically possible, (for instance by not uploading the submission to public website and/or removing any currently public unpublished preprints while it is under review) and that submissions to DLfM are not under active consideration by another conference or journal. Submission link: https://easychair.org/conferences/?conf=dlfm2024 Contact email: dlfm2024 at easychair.org CONFERENCE ORGANIZATION Programme Chair David M. Weigl, mdw - University of Music and Performing Arts Vienna General Chair Martha E. Thomae, Universidade NOVA de Lisboa Proceedings and Publicity Chair Anna Plaksin, Paderborn University Local Chair Beulah Gericke-Geldenhuys, Stellenbosch University Programme Committee Claire Arthur, Georgia Institute of Technology David Bainbridge, University of Waikato Houman Behzadi, McGill University J. A. Burgoyne, University of Amsterdam Joy Calico, UCLA Herb Alpert School of Music Jorge Calvo-Zaragoza, University of Alicante Rafael Caro Repetto, Institute for Ethnomusicology, Kunstuniversität Graz Kahyun Choi, Indiana University Bloomington Nathaniel Condit-Schultz, Georgia Institute of Technology Rachel Cowgill, University of York Elsa De Luca, CESEM, Universidade Nova de Lisboa Jürgen Diet, Bavarian State Library Benjamin Fields, BBC Ichiro Fujinaga, McGill University Francesca Giannetti, Rutgers University Mark Gotham, Durham University Jose M. Iñesta, Universidad de Alicante Charles Inskip, University College London Audrey Laplante, EBSI, Université de Montréal Kjell Lemström, University of Helsinki David Lewis, Goldsmiths, University of London Ewa Lukasik, Poznan University of Technology, Institute of Computing Science Cory Mckay, Marianopolis College Stefan Münnich, University of Basel Joshua Neumann, Akademie der Wissenschaften und der Literatur Mainz Kevin Page, University of Oxford Laurent Pugin, RISM Digital Center Andreas Rauber, Vienna University of Technology Xavier Serra, Universitat Pompeu Fabra Sandra Tuppen, British Library Marnix van Berchum, Utrecht University Raffaele Viglianti, University of Maryland Sonia Wronkowska, The National Library of Poland From atge at kb.dk Fri Jan 19 12:24:35 2024 From: atge at kb.dk (Axel Teich Geertinger) Date: Fri, 19 Jan 2024 11:24:35 +0000 Subject: [MEI-L] What is the position referred to by @endid? Message-ID: Dear list, I have been wondering about what I thought at first to be a bug in the MEI import in MuseScore 4.2. As MuseScore does not operate with timestamps (for now at least), the beginning and end of elements such as hairpins must be expressed using @startid and @endid. Comparing renderings in Verovio and MuseScore, I noticed that in the example below, MuseScore interprets the time position of @endid="#note_2" to be the end of the duration of note 2, while Verovio renders it as the visual position of the note itself, i.e., the beginning of its duration. So what is the correct time position referred to by @endid? Looking through the guidelines, I did not find it defined, tough I may have overlooked it. Anyway, in order to encode positions unambiguously I think it is important that there is no doubt about the meaning of @endid. Best, Axel Example: Rendering in MuseScore: [cid:d4d281b1-d45b-4169-9323-d3c4b19ecd21] Rendering in Verovio: [cid:39388586-20fc-4d99-8455-d4c621550a64] -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: hairpin_note_1-2_musescore.png Type: image/png Size: 4745 bytes Desc: hairpin_note_1-2_musescore.png URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: hairpin_note_1-2_verovio.png Type: image/png Size: 7571 bytes Desc: hairpin_note_1-2_verovio.png URL: From Karen.Desmond at mu.ie Tue Jan 23 21:39:56 2024 From: Karen.Desmond at mu.ie (Karen Desmond) Date: Tue, 23 Jan 2024 20:39:56 +0000 Subject: [MEI-L] Call for Applications by March 15, 2024: 2 fully funded PhD Studentships in Medieval Music/DH at Maynooth University, Ireland Message-ID: Call for Applications! Apply NOW for two fully funded four-year PhD studentships on the ERC-funded BROKENSONG project, based at Maynooth University, IRELAND, commencing 1 July 2024. The funding covers tuition fees and offers a generous living stipend for four years. First consideration given to applications received before March 15, 2024. For one of the PhD positions, I'm looking for a medievalist or musicologist with interests in early music, for the second, someone with experience in computer science/data science/encoding with a background in music would be ideal. Please spread the word among your colleagues and students, and encourage candidates to be in contact with me directly with any questions (karen.desmond at mu.ie). PhD Student 1 will be a medievalist or musicologist, with a Bachelor’s, or preferably a Master’s, degree in medieval studies/history, medieval Latin, liturgy and theology, and/or plainchant. Preference will be given to candidates demonstrating competence in Latin and music notation. PhD Student 2 will be either be a music, digital humanities, or computer science graduate with interests in music, or a scholar-performer specializing in medieval vocal improvisation (plainchant or polyphony). They will have a Bachelor’s or Master’s degree in a relevant field and research interests in the analysis of humanities data. Preference will be given to candidates who have expertise in either computational approaches to the analysis of music, image, or text content, or performance-based analysis of early music including improvisation and practice-based research. More details available at this here: https://www.maynoothuniversity.ie/music/news/two-funded-phd-studentships -------------- next part -------------- An HTML attachment was scrubbed... URL: From b.w.bohl at gmail.com Thu Jan 25 15:54:53 2024 From: b.w.bohl at gmail.com (Benjamin W. Bohl) Date: Thu, 25 Jan 2024 15:54:53 +0100 Subject: [MEI-L] Tomorrow: ODD Friday meeting Message-ID: Dear MEI-L:ist:eners, This is a gentle reminder that we have our ODD Friday meeting this week for anything concerning the development of the MEI schemata and guidelines. Date: 26 January Time: 3 pm CET Zoom Link: https://us02web.zoom.us/j/83097885923?pwd=NTZvTXh1S2E1MkdNdi9tV3FKWVpMQT09 The meetings are generally open to anyone and aim at improving MEI, both in terms of technological AND musicological needs. Whether you are a developer or a musicologist, this meeting promises to be a unique opportunity to learn from each other and share your expertise. We look forward to seeing you all there! Best regards, Benni P.S. Please also feel invited to join our ODD meeting channel on MEI-Slack. https://music-encoding.slack.com/archives/C01PBLPP543 P.P.S. If you generally would like to join the ODD meetings but the scheduled time is trouble for you, please let me know for future planning ;-) -------------- next part -------------- An HTML attachment was scrubbed... URL: From weigl at mdw.ac.at Thu Jan 25 16:59:29 2024 From: weigl at mdw.ac.at (David M. Weigl) Date: Thu, 25 Jan 2024 16:59:29 +0100 Subject: [MEI-L] Extension and Final CfP: 11th International Conference on Digital Libraries for Musicology (DLfM 2024) Message-ID: <0139b7b7-7f37-4ceb-a117-073f9f892852@mdw.ac.at> ** EXTENSION OF DEADLINE: Full and short paper submissions to DLfM are now due on February 22nd. ** An initial abstract submission with a provisional title and author list remains due on February 12th. Final CfP: 11th International Conference on Digital Libraries for Musicology (In Association with IAML 2024), June 27, Stellenbosch University Konservatorium, Stellenbosch, South Africa CALL FOR PAPERS AND POSTERS DLfM welcomes contributions related to any aspect of digital libraries and musicology, including topics related to musical archiving and retrieval, cataloguing and classification, musical databases, special collections, music encodings and representations, computational musicology, or music information retrieval (MIR). As this will be the first iteration of DLfM taking place on the African continent, we strongly encourage proposals from individuals working on music in Africa within various disciplines and from a range of perspectives, particularly addressing this year's theme: Musicology of the Global South: The Role of Digital Libraries The organizing committee especially encourages submissions of papers and posters that address this theme, however, we welcome all submissions addressing all topics that fall under the scope of DLfM. Specific examples of topics traditionally covered at DLfM can be found at https://dlfm.web.ox.ac.uk. DLfM 2024 proceedings of full and short papers will be published in the ACM Digital Library through ICPS. We are aware of a growing number of institutional and funder requirements for Open Access publication, and recognise that authors will need to comply with any policies which apply to them. Further advice is available from the ACM at https://www.acm.org/publications/openaccess#h-green-open-access IMPORTANT DATES (AoE) * Abstract submission deadline with provisional title and author list: February 12th, 2024 * Paper (full paper and short paper) submission deadline: February 22nd, 2024 * Notification of paper acceptance: April 8th, 2024 * Poster submission deadline: April 22nd, 2024 * Camera-ready submission deadline (full and short papers): May 13th, 2024 * Conference registration deadline: June 17th, 2024 * Conference: June 27th, Stellenbosch, South Africa Note that at least one author must be registered by the CAMERA-READY submission deadline, May 13th, in order for accepted submissions to be included in the conference programme. SUBMISSIONS Paper submissions * Paper length: We invite full papers (up to 8 pages excluding references) or short papers (up to 4 pages excluding references). * Submissions: work is submitted to DLfM via EasyChair (https://easychair.org/conferences/?conf=dlfm2024). * Format: Submissions must be in English, formatted according to the appropriate ACM template (see template below), in PDF format, and A4 size. Authors will need to follow ACM's instructions for formatting carefully. Assistance will be provided from the proceedings chair. * Templates: Authors must use either the LaTeX template (https://portalparts.acm.org/hippo/latex_templates/acmart-primary.zip, use the 'sigconf', 'authordraft', and 'anonymous' settings for initial submission), the LaTeX + Overleaf template (https://www.overleaf.com/latex/templates/association-for-computing-machinery-acm-sig-proceedings-template/bmvfhcdnxfty, use the 'sigconf', 'authordraft', and 'anonymous' settings for initial submission), or the MS Word template (https://www.acm.org/binaries/content/assets/publications/word_style/interim-template-style/interim-layout.docx). Historically, LaTeX versions have been easier to process into camera-ready versions. Therefore, we encourage all authors to use the LaTeX (or LaTeX + Overleaf) template if possible. * Page limits for submitted papers apply to all text, excluding the bibliography (i.e., references can be included on pages over the specified limits). Poster submissions * Submission: The initial poster submission consists of an abstract which outlines both the scholarly content and broad details of the proposed layout in 500 words or fewer. This is to be sent by e-mail to dlfm2024 at easychair.org * Format: Information on printed poster formats will be provided on acceptance of the poster abstract. All accepted posters will also be required to submit a digital copy before the conference date to be shared publicly on the conference web page. Review and Ethics Papers (long and short) will be double blind peer reviewed by at least 3 members of the programme committee. For accepted paper submissions, at least one author must register for the conference (as a presenter) by the camera-ready submission deadline, May 13th, 2024. DLfM conforms to the usual conventions for publication ethics. For instance, we endeavour to provide an effective reviewing process that is fair to all submissions, with reviews from experts in the subject area. In turn, we expect authors to ensure anonymity in the original submission as far as practically possible, (for instance by not uploading the submission to public website and/or removing any currently public unpublished preprints while it is under review) and that submissions to DLfM are not under active consideration by another conference or journal. Submission link: https://easychair.org/conferences/?conf=dlfm2024 Contact email: dlfm2024 at easychair.org CONFERENCE ORGANIZATION Programme Chair David M. Weigl, mdw - University of Music and Performing Arts Vienna General Chair Martha E. Thomae, Universidade NOVA de Lisboa Proceedings and Publicity Chair Anna Plaksin, Paderborn University Local Chair Beulah Gericke-Geldenhuys, Stellenbosch University Programme Committee Claire Arthur, Georgia Institute of Technology David Bainbridge, University of Waikato Houman Behzadi, McGill University J. A. Burgoyne, University of Amsterdam Joy Calico, UCLA Herb Alpert School of Music Jorge Calvo-Zaragoza, University of Alicante Rafael Caro Repetto, Institute for Ethnomusicology, Kunstuniversität Graz Kahyun Choi, Indiana University Bloomington Nathaniel Condit-Schultz, Georgia Institute of Technology Rachel Cowgill, University of York Elsa De Luca, CESEM, Universidade Nova de Lisboa Jürgen Diet, Bavarian State Library Benjamin Fields, BBC Ichiro Fujinaga, McGill University Francesca Giannetti, Rutgers University Mark Gotham, Durham University Jose M. Iñesta, Universidad de Alicante Charles Inskip, University College London Audrey Laplante, EBSI, Université de Montréal Kjell Lemström, University of Helsinki David Lewis, Goldsmiths, University of London Ewa Lukasik, Poznan University of Technology, Institute of Computing Science Cory Mckay, Marianopolis College Stefan Münnich, University of Basel Joshua Neumann, Akademie der Wissenschaften und der Literatur Mainz Kevin Page, University of Oxford Laurent Pugin, RISM Digital Center Andreas Rauber, Vienna University of Technology Xavier Serra, Universitat Pompeu Fabra Sandra Tuppen, British Library Marnix van Berchum, Utrecht University Raffaele Viglianti, University of Maryland Sonia Wronkowska, The From thomaemartha at gmail.com Tue Jan 30 23:54:20 2024 From: thomaemartha at gmail.com (Martha Thomae) Date: Tue, 30 Jan 2024 23:54:20 +0100 Subject: [MEI-L] CfP: Digital Technologies Applied to Music Research - Methodologies, Projects and Challenges Message-ID: <0597D138-9DE2-4335-8586-F824FEAFB15A@gmail.com> Digital Technologies Applied to Music Research Methodologies, Projects and Challenges International Conference: Call For Papers 27-29 June 2024, School of Social Sciences and Humanities - NOVA University Lisbon The ongoing digital revolution holds the potential to unveil unforeseen possibilities which could challenge and overturn traditional research methodologies and allow entirely new opportunities for music research. This conference aims to foster interdisciplinary dialogue between music technology scholars and historical musicologists and to promote scholarly discussions on the applicability and usability of digital technologies to boost music research. For more information, please consult our website: https://cesem.fcsh.unl.pt/en/2024/01/30/call-papers-digital-technologies-applied-to-music-research-2/ Topics 1. Digital technologies that have revolutionized music research 2. Digital archiving of musical heritage 3. Challenges in digital music preservation 4. How digital technologies help make music sources more accessible to researchers and musicians 5. Key challenges in applying digital technologies to music research 6. Ways in which large-scale search and music analysis are reshaping research questions 7. Successful music research projects that utilized digital technologies 8. Music encoding 9. Digital tools for analysing chant and secular monophonic song 10. How the role of digital technologies in music research evolved over time 11. Ways to effectively incorporate digital technologies into historical musicological research 12. How digital technologies enhance, or hinder, the process of music research 13. How digital technologies can benefit the study and preservation of early music 14. Utilizing AI in music analysis 15. Digital ethnomusicology Keynote Speakers · Ichiro Fujinaga, McGill University · Jennifer Bain, Dalhousie University Publication A selection of papers will be invited for open access publication in a special issue and in a book (venues to be announced). Participants will be asked to submit extended versions of their papers and an ad-hoc scientific committee will monitor the quality and originality of the texts. Deadlines Paper and poster proposals should be sent to elsadeluca at fcsh.unl.pt and include the name of the author/s, institutional affiliation, title, abstract (c.400 words for papers, c.200 words for posters) and 3-5 keywords. Deadline for proposals: 18 February 2024. Notification of acceptance: 8 March 2024. Conference: 27-29 June 2024. Submission of final texts of invited papers for the book and the special issue: 30 September 2024. Program committee Elsa De Luca, CESEM-IN2PAST, NOVA University Lisbon (program committee chair) Claire Arthur, Georgia Institute of Technology Jorge Calvo, Universidad de Alicante João Pedro d'Alvarenga, CESEM-IN2PAST, NOVA University Lisbon Zuelma Paula Miranda Duarte Chaves, CESEM-IN2PAST, NOVA University Lisbon Manuel Pedro Ferreira, CESEM-IN2PAST, NOVA University Lisbon Jan Hajic, Charles University Prague Debra Lacoste, Dalhousie University David Lewis, University of Oxford eResearch Centre Alberto Medina de Seiça, CESEM-IN2PAST, NOVA University Lisbon Stefan Morent, Universität Tübingen Fabian Moss, Institut für Musikforschung | Julius-Maximilians-Universität Würzburg Kathleen Nelson, SCM, University of Sydney David Rizo Valero, Universidad de Alicante Santiago Ruiz Torres, Universidad de Salamanca Mark Saccomano, Hochschule für Musik Detmold / Universität Paderborn Craig Stuart Sapp, Stanford University, CCARH/PHI Martha Thomae Elias, CESEM-IN2PAST, NOVA University Lisbon Konstantinos Vasilakos, Xian Jiaotong-Liverpool University Hana Vlhová-Wörner, Czech Academy of Sciences - University Basel The conference will be in-person only, with online streaming of the project conference accessible to registered users. The conference will be followed by a workshop (29 June, afternoon) on the automatic analysis of early music. -------------- next part -------------- An HTML attachment was scrubbed... URL: From klaus.rettinghaus at gmail.com Sun Feb 4 17:31:45 2024 From: klaus.rettinghaus at gmail.com (Klaus Rettinghaus) Date: Sun, 4 Feb 2024 17:31:45 +0100 Subject: [MEI-L] What is the position referred to by @endid? In-Reply-To: References: Message-ID: <57C76D38-3DBE-43EA-94E1-8FFD810CE026@gmail.com> Dear Axel, I believe that this was never decided properly and is open to interpretation of the renderer. From my understanding @tstamp2 and @endid point to a specific visual point along the staff, and then latter basically points to the connected note or chord. You may find several issues and discussion around this in the Verovio repository, e.g., https://github.com/rism-digital/verovio/discussions/3313. Best, Klaus > Am 19.01.2024 um 12:24 schrieb Axel Teich Geertinger : > > Dear list, > > I have been wondering about what I thought at first to be a bug in the MEI import in MuseScore 4.2. As MuseScore does not operate with timestamps (for now at least), the beginning and end of elements such as hairpins must be expressed using @startid and @endid. > Comparing renderings in Verovio and MuseScore, I noticed that in the example below, MuseScore interprets the time position of @endid="#note_2" to be the end of the duration of note 2, while Verovio renders it as the visual position of the note itself, i.e., the beginning of its duration. > So what is the correct time position referred to by @endid? Looking through the guidelines, I did not find it defined, tough I may have overlooked it. > Anyway, in order to encode positions unambiguously I think it is important that there is no doubt about the meaning of @endid. > Best, > Axel > > Example: > > > > > > > > > > > > > > Rendering in MuseScore: > > > Rendering in Verovio: > > > > _______________________________________________ > 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 martinguillermo719 at gmail.com Fri Feb 9 12:54:48 2024 From: martinguillermo719 at gmail.com (=?UTF-8?Q?Guille_Mart=C3=ADn_Hidalgo?=) Date: Fri, 9 Feb 2024 11:54:48 +0000 Subject: [MEI-L] About listing 128 in MEI Guidelines 5.0 Message-ID: Hi to all the community! I'm delighted to have joined you all. I'm starting to read and study the guidelines, and I think something seems odd in listing 128. I'm not sure if it's me not understanding how it works. Firstly, the numbering scheme of the measures seems disorganized to me (the first measure is labeled as "1," the second as "4," then after the three rest measures, the next one is labeled as "5"...). Secondly, regarding the accidentals in the first chord, why is C flat? And finally, why is it possible to hold a whole chord in the third measure within a "cut" measure bar? Thanks and kind regards, Guillermo M -------------- next part -------------- An HTML attachment was scrubbed... URL: From andrew.hankinson at rism.digital Fri Feb 9 13:45:41 2024 From: andrew.hankinson at rism.digital (Andrew Hankinson) Date: Fri, 9 Feb 2024 13:45:41 +0100 Subject: [MEI-L] About listing 128 in MEI Guidelines 5.0 In-Reply-To: References: Message-ID: Hi Guillermo, Could you please include a link to the problem that you’re seeing? Thanks. Andrew > On 9 Feb 2024, at 12:56, Guille Martín Hidalgo wrote: > >  > Hi to all the community! I'm delighted to have joined you all. > > I'm starting to read and study the guidelines, and I think something seems odd in listing 128. I'm not sure if it's me not understanding how it works. > > Firstly, the numbering scheme of the measures seems disorganized to me (the first measure is labeled as "1," the second as "4," then after the three rest measures, the next one is labeled as "5"...). Secondly, regarding the accidentals in the first chord, why is C flat? And finally, why is it possible to hold a whole chord in the third measure within a "cut" measure bar? > > Thanks and kind regards, > > Guillermo M > _______________________________________________ > mei-l mailing list > mei-l at lists.uni-paderborn.de > https://lists.uni-paderborn.de/mailman/listinfo/mei-l From martinguillermo719 at gmail.com Fri Feb 9 13:59:51 2024 From: martinguillermo719 at gmail.com (=?UTF-8?Q?Guille_Mart=C3=ADn_Hidalgo?=) Date: Fri, 9 Feb 2024 12:59:51 +0000 Subject: [MEI-L] About listing 128 in MEI Guidelines 5.0 In-Reply-To: References: Message-ID: https://music-encoding.org/guidelines/v5/content/cmn.html When you enter, search for the *listing 128 *and you'll see the score and the encoded score. Thanks. El vie, 9 feb 2024 a las 12:46, Andrew Hankinson () escribió: > Hi Guillermo, > > Could you please include a link to the problem that you’re seeing? Thanks. > > Andrew > > > On 9 Feb 2024, at 12:56, Guille Martín Hidalgo < > martinguillermo719 at gmail.com> wrote: > > > >  > > Hi to all the community! I'm delighted to have joined you all. > > > > I'm starting to read and study the guidelines, and I think something > seems odd in listing 128. I'm not sure if it's me not understanding how it > works. > > > > Firstly, the numbering scheme of the measures seems disorganized to me > (the first measure is labeled as "1," the second as "4," then after the > three rest measures, the next one is labeled as "5"...). Secondly, > regarding the accidentals in the first chord, why is C flat? And finally, > why is it possible to hold a whole chord in the third measure within a > "cut" measure bar? > > > > Thanks and kind regards, > > > > Guillermo M > > _______________________________________________ > > 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 > -------------- next part -------------- An HTML attachment was scrubbed... URL: From stefan.muennich at unibas.ch Fri Feb 9 14:54:12 2024 From: stefan.muennich at unibas.ch (=?utf-8?B?U3RlZmFuIE3DvG5uaWNo?=) Date: Fri, 9 Feb 2024 13:54:12 +0000 Subject: [MEI-L] [EXTERN] Re: About listing 128 in MEI Guidelines 5.0 In-Reply-To: References: , Message-ID: <9c2339c5c59f4bf3a8ae95ca307cfcd4@unibas.ch> Hi Guillermo, and welcomome to the community! 😊 Thanks for your interest in the guidelines and your careful study. The issues you observed are very helpful to further improve our documentation. It seems that the encoding in question can be found here: https://github.com/music-encoding/music-encoding/blob/develop/source/examples/verovio/04-score-redefinition.mei (chapter 4.2.4: https://music-encoding.org/guidelines/dev/content/cmn.html#cmnReDef) Maybe I can invite you to open an issue on our music-encoding Github repository: https://github.com/music-encoding/music-encoding/issues (that's were we keep record of open questions, issues and feature requests). If you need help in doing so, please let us know. Many thanks, Stefan --- Stefan Münnich | Dr. des | Research associate University of Basel | Department Arts, Media, Philosophy | Musicology | Anton Webern Gesamtausgabe Petersgraben 27/29 | CH-4051 Basel | Schweiz Tel: +41 61 207 28 08 E-Mail: stefan.muennich at unibas.ch | https://www.anton-webern.ch This e-mail and any attachments to it may contain confidential information, which is for the sole attention and use of the intended recipient. If you are not the correct addressee or have received this email in error, please notify us immediately and delete this email. Copying and forwarding this message without consent of the sender is not permitted. ________________________________ Von: mei-l im Auftrag von Guille Martín Hidalgo Gesendet: Freitag, 9. Februar 2024 13:59:51 An: Music Encoding Initiative Betreff: [EXTERN] Re: [MEI-L] About listing 128 in MEI Guidelines 5.0 https://music-encoding.org/guidelines/v5/content/cmn.html When you enter, search for the listing 128 and you'll see the score and the encoded score. Thanks. El vie, 9 feb 2024 a las 12:46, Andrew Hankinson () escribió: Hi Guillermo, Could you please include a link to the problem that you’re seeing? Thanks. Andrew > On 9 Feb 2024, at 12:56, Guille Martín Hidalgo > wrote: > >  > Hi to all the community! I'm delighted to have joined you all. > > I'm starting to read and study the guidelines, and I think something seems odd in listing 128. I'm not sure if it's me not understanding how it works. > > Firstly, the numbering scheme of the measures seems disorganized to me (the first measure is labeled as "1," the second as "4," then after the three rest measures, the next one is labeled as "5"...). Secondly, regarding the accidentals in the first chord, why is C flat? And finally, why is it possible to hold a whole chord in the third measure within a "cut" measure bar? > > Thanks and kind regards, > > Guillermo M > _______________________________________________ > 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From martinguillermo719 at gmail.com Fri Feb 9 16:46:52 2024 From: martinguillermo719 at gmail.com (=?UTF-8?Q?Guille_Mart=C3=ADn_Hidalgo?=) Date: Fri, 9 Feb 2024 15:46:52 +0000 Subject: [MEI-L] [EXTERN] Re: About listing 128 in MEI Guidelines 5.0 In-Reply-To: <9c2339c5c59f4bf3a8ae95ca307cfcd4@unibas.ch> References: <9c2339c5c59f4bf3a8ae95ca307cfcd4@unibas.ch> Message-ID: Dear Stefan, Thanks for the instructions, I have just posted the issue. Kind regards Guillermo M El vie, 9 feb 2024 a las 13:54, Stefan Münnich () escribió: > Hi Guillermo, and welcomome to the community! 😊 > > > Thanks for your interest in the guidelines and your careful study. The > issues you observed are very helpful to further improve our documentation. > > > It seems that the encoding in question can be found here: > https://github.com/music-encoding/music-encoding/blob/develop/source/examples/verovio/04-score-redefinition.mei > (chapter 4.2.4: > https://music-encoding.org/guidelines/dev/content/cmn.html#cmnReDef) > > > Maybe I can invite you to open an issue on our music-encoding Github > repository: https://github.com/music-encoding/music-encoding/issues > (that's were we keep record of open questions, issues and feature > requests). If you need help in doing so, please let us know. > > > Many thanks, > > Stefan > > > > > --- > > *Stefan Münnich *| Dr. des | Research associate > > University of Basel | Department Arts, Media, Philosophy | Musicology | Anton > Webern Gesamtausgabe > Petersgraben 27/29 | CH-4051 Basel | Schweiz > Tel: +41 61 207 28 08 > E-Mail: stefan.muennich at unibas.ch | https://www.anton-webern.ch > > > > This e-mail and any attachments to it may contain confidential > information, which is for the sole attention and use of the intended > recipient. If you are not the correct addressee or have received this email > in error, please notify us immediately and delete this email. Copying and > forwarding this message without consent of the sender is not permitted. > > > > > ------------------------------ > *Von:* mei-l im Auftrag von Guille > Martín Hidalgo > *Gesendet:* Freitag, 9. Februar 2024 13:59:51 > *An:* Music Encoding Initiative > *Betreff:* [EXTERN] Re: [MEI-L] About listing 128 in MEI Guidelines 5.0 > > https://music-encoding.org/guidelines/v5/content/cmn.html > When you enter, search for the *listing 128 *and you'll see the score and > the encoded score. > > Thanks. > > El vie, 9 feb 2024 a las 12:46, Andrew Hankinson > () escribió: > >> Hi Guillermo, >> >> Could you please include a link to the problem that you’re seeing? Thanks. >> >> Andrew >> >> > On 9 Feb 2024, at 12:56, Guille Martín Hidalgo < >> martinguillermo719 at gmail.com> wrote: >> > >> >  >> > Hi to all the community! I'm delighted to have joined you all. >> > >> > I'm starting to read and study the guidelines, and I think something >> seems odd in listing 128. I'm not sure if it's me not understanding how it >> works. >> > >> > Firstly, the numbering scheme of the measures seems disorganized to me >> (the first measure is labeled as "1," the second as "4," then after the >> three rest measures, the next one is labeled as "5"...). Secondly, >> regarding the accidentals in the first chord, why is C flat? And finally, >> why is it possible to hold a whole chord in the third measure within a >> "cut" measure bar? >> > >> > Thanks and kind regards, >> > >> > Guillermo M >> > _______________________________________________ >> > 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 >> > _______________________________________________ > 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 Anna.Kijas at tufts.edu Tue Feb 20 15:11:40 2024 From: Anna.Kijas at tufts.edu (Kijas, Anna E) Date: Tue, 20 Feb 2024 14:11:40 +0000 Subject: [MEI-L] MEI Community Forum Message-ID: Dear MEI Colleagues, Please hold the date for the next MEI Community Forum on Tuesday, March 19, 2024, at 11 AM (EDT). Register to attend: https://tufts.zoom.us/meeting/register/tJUudOqoqzkpHdVHf0sT0pKUXTS1IKeO5jVh More details will be shared closer to the meeting date. Best, Anna Anna E. Kijas Head, Lilly Music Library Granoff Music Center | Tufts University Pronouns: she, her, hers Book an appointment | (617) 627-2846 Co-founder of Saving Ukrainian Cultural Heritage Online (SUCHO) Administrative Chair, Music Encoding Initiative Editor, Technical Reports and Monographs in Music Librarianship (MLA) -------------- next part -------------- An HTML attachment was scrubbed... URL: From luca.ludovico at unimi.it Fri Mar 1 20:46:09 2024 From: luca.ludovico at unimi.it (Luca Andrea Ludovico) Date: Fri, 1 Mar 2024 19:46:09 +0000 Subject: [MEI-L] Computer Supported Music Education @ CSEDU 2024 - Deadline extension In-Reply-To: <4005FA4F-459D-4FC8-BB0D-A5439921E0D6@unimi.it> References: <4005FA4F-459D-4FC8-BB0D-A5439921E0D6@unimi.it> Message-ID: [Apologies for cross-postings] [Please distribute] 16th International Conference on Computer Supported Education (CSEDU 2024) Special session on Computer Supported Music Education (CSME 2024) – 5th edition The International Conference on Computer Supported Education is an annual meeting place for presenting and discussing new educational tools and environments, best practices and case studies on innovative technology-based learning strategies, and institutional policies on computer-supported education, including open and distance education. The next edition will be held in Angers, France, on May 2-4, 2024. In this framework, the special session on Computer Supported Music Education aims to investigate the impact of computer-based approaches on music education. We welcome contributions focusing on the design, development, and use of advanced technologies to support learning and teaching actions in music creation, performance, and analysis. Accepted papers, presented at the conference by one or more of the authors, will be published in the Proceedings of CSEDU under an ISBN and indexed by major systems, e.g., Thomson Reuters Conference Proceedings Citation Index (CPCI/ISI), DBLP, EI (Elsevier Engineering Village Index), Scopus, Semantic Scholar, and Google Scholar. Important dates Paper Submission: February 29, 2024 March 4, 2024 (extended) Authors Notification: March 14, 2024 Camera Ready and Registration: March 22, 2024 For further information Special session web page: https://csedu.scitevents.org/CSME.aspx General conference web page: https://csedu.scitevents.org/ Organizer and chair Luca A. Ludovico Laboratory of Music Informatics (LIM), Department of Computer Science, University of Milan luca.ludovico at unimi.it -------------- next part -------------- An HTML attachment was scrubbed... URL: From anna.giust at univr.it Tue Mar 19 18:32:25 2024 From: anna.giust at univr.it (Anna Giust) Date: Tue, 19 Mar 2024 17:32:25 +0000 Subject: [MEI-L] Call for papers Message-ID: Dear colleagues, please consider sending a proposal for the conference "DAIDH 2024: Diversity, Accessibility, and Inclusion in the Digital Text and Cultural Heritage: Challenges and Perspectives". The conference will be held at University of Verona (IT), Department of Foreign Languages and Literatures, from 22 to 24 May. The call for papers is attached, and has been published on the EasyChair Smart CFP Web site. You can access the CFP at the following link: https://easychair.org/cfp/daidh2024 We look forward to see You here in Verona For the organizing committee, Anna Giust Anna Giust Professore Associato di Lingua e Letteratura russa Università degli Studi di Verona Dipartimento di Lingue e Letterature Straniere L.ge P.ta Vittoria, 41 37129 Verona tel. +39 045 802 8465 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: DAIDH 2024 last version.pdf Type: application/pdf Size: 322338 bytes Desc: DAIDH 2024 last version.pdf URL: From weigl at mdw.ac.at Wed Apr 3 17:47:38 2024 From: weigl at mdw.ac.at (David M. Weigl) Date: Wed, 3 Apr 2024 17:47:38 +0200 Subject: [MEI-L] Call for Posters: 11th International Conference on Digital Libraries for Musicology (DLfM 2024) Message-ID: Call for Posters - 11th International Conference on Digital Libraries for Musicology (In Association with IAML 2024), 27 June 2024 CALL FOR POSTERS The 11th DLfM conference (https://dlfm.web.ox.ac.uk), held at the Stellenbosch University Konservatorium in South Africa, welcomes contributions related to any aspect of digital libraries and musicology, including topics related to musical archiving and retrieval, cataloguing and classification, musical databases, special collections, music encodings and representations, computational musicology, or music information retrieval (MIR). This year’s conference will be held in association with the annual conference of the International Association of Music Libraries, Archives, and Documentation Centres (IAML, https://iaml2024.sun.ac.za/). In bringing these two conferences together we aim to encourage new collaborations and foster larger group discussions surrounding prominent issues in the digital humanities. As this will be the first iteration of DLfM taking place on the African continent, we strongly encourage proposals from individuals working on music in Africa within various disciplines and from a range of perspectives, particularly addressing the theme “Musicology of the Global South: The Role of Digital Libraries.” The conference strongly encourages posters that address this year’s theme; however, we welcome all posters addressing all traditional topics that fall under the scope of DLfM. Posters will be permanently placed on the DLfM website, and poster presenters will have the opportunity to present their work in a dedicated poster session. More details will be announced on the DLfM website soon (https://dlfm.web.ox.ac.uk). IMPORTANT DATES (AoE) - Poster abstract submission deadline: April 22, 2024 - Notification of Acceptance: April 26, 2024 - Conference: June 27, 2024, Stellenbosch, South Africa POSTER SUBMISSION An abstract of the proposed poster of no more than 500 words must be submitted by April 22, 2024. Abstracts are to be emailed to:dlfm2024 at easychair.org Details for poster formats will be updated to the DLfM website soon, and instructions will be emailed to authors following the review period. Abstracts will be reviewed and decisions returned by April 26, 2024. Contact email:dlfm2024 at easychair.org CONFERENCE ORGANISATION Programme Chair David M. Weigl, mdw – University of Music and Performing Arts Vienna General Chair Martha E. Thomae, Universidade NOVA de Lisboa Proceedings and Publicity Chair Anna Plaksin, Paderborn University -------------- next part -------------- An HTML attachment was scrubbed... URL: From Anna.Kijas at tufts.edu Fri Apr 12 14:00:00 2024 From: Anna.Kijas at tufts.edu (Kijas, Anna E) Date: Fri, 12 Apr 2024 12:00:00 +0000 Subject: [MEI-L] TEI 2024 conference bursaries and CfP Message-ID: Dear Colleagues, I am sharing this announcement below about the TEI 2024 conference bursaries and CfP on behalf of Gimena del Rio Riande. We are delighted to announce that the TEI and MEI will be offering three travel bursaries for TEI 2024, “Texts, languages, and communities”. Also, thanks to individual sponsors, registration fee-waivers will be offered. You can find more information at: https://tei2024.tei-c.org/bursaries And finally, a reminder of the Call for proposals for TEI 2024, that closes on April 30. Join us in Buenos Aires at Universidad del Salvador, 7-11 October 2024. Pre-conference workshops will run on the 7-8 October, with the conference opening and running for the 9-11 October. Gimena del Rio and Gustavo Fernández Riva On behalf of the Local and Program Committees Best, Anna Anna E. Kijas Head, Lilly Music Library Granoff Music Center | Tufts University Pronouns: she, her, hers Book an appointment | (617) 627-2846 Co-founder of Saving Ukrainian Cultural Heritage Online (SUCHO) Administrative Chair, Music Encoding Initiative Editor, Technical Reports and Monographs in Music Librarianship (MLA) -------------- next part -------------- An HTML attachment was scrubbed... URL: From margrethe.bue at nb.no Wed Apr 24 11:14:47 2024 From: margrethe.bue at nb.no (=?iso-8859-1?Q?Margrethe_St=F8kken_Bue?=) Date: Wed, 24 Apr 2024 09:14:47 +0000 Subject: [MEI-L] MEC 2024 Program is out Message-ID: Dear list, The MEC 2024 program is now ready: https://music-encoding.org/conference/2024/program/ Registration deadline May 3. Online participation possible. Best wishes, Margrethe S. Bue Music Section Tel. +47 23 27 63 15 Cell +47 419 22 419 https://www.nb.no/ansatte/margrethe-stokken-bue/ [cid:image001.png at 01DA9638.9DD3CF50] -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.png Type: image/png Size: 6834 bytes Desc: image001.png URL: From mkirsch at musik.uni-kiel.de Wed Apr 24 11:31:14 2024 From: mkirsch at musik.uni-kiel.de (mkirsch at musik.uni-kiel.de) Date: Wed, 24 Apr 2024 11:31:14 +0200 Subject: [MEI-L] MEC 2024 Program is out In-Reply-To: References: Message-ID: <43828f30a156f20d0d9f8998ef8add6d@musik.uni-kiel.de> Lieber Herr Lafrenz, Haben Sie ganz herzlichen Dank für die Durchsicht und die Anm., das hilft mir weiter! Wenn ichtatsächlich einen Scan von Ihrem Ballhaus-Bild bekommen könnte? Das wäre sehr schön, vielen Dank auch dafür. Ich muss gestehen: Der Unterschied zwischen Freimaurer-Kult und Freimaurer-Arbeit ist mir leider nicht geläufig. Worin besteht er? Hat das etwas mit dem jeweiligen Ort zu tun? Ich denke, ich werde das Ballhaus-Thema (zumindest für Kiel weiterverfolgen), da fehlen mir wohl noch eine Menge Beobachtungen, die jweils irgendwo schlummern. Gestern z.B. war ich bei einme Vortrag von Herr Prof. Detering, der eine mir bislang vollkommen unbekannte Stadtansicht Kiels zeigte (F.C.A. Lill, 1835), auf der man mit etwas gutem Willen doch die Dach-Silhouette des Ballhauses ausmachen kann. Herzlichen Gruß und vielen Dank für alles, ich halte Sie auf dem Laufenden, M. Kirsch Am 2024-04-24 11:14, schrieb Margrethe Støkken Bue: > Dear list, > > The MEC 2024 program is now ready: > > https://music-encoding.org/conference/2024/program/ > > Registration deadline May 3. Online participation possible. > > Best wishes, > > Margrethe S. Bue > > Music Section > > Tel. +47 23 27 63 15 > > Cell +47 419 22 419 > > https://www.nb.no/ansatte/margrethe-stokken-bue/ [1] > > _______________________________________________ > mei-l mailing list > mei-l at lists.uni-paderborn.de > https://lists.uni-paderborn.de/mailman/listinfo/mei-l Links: ------ [1] https://www.nb.no/ansatte/margrethe-stokken-bue/ -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.png Type: image/png Size: 6834 bytes Desc: not available URL: From Anna.Kijas at tufts.edu Fri Apr 26 18:58:23 2024 From: Anna.Kijas at tufts.edu (Kijas, Anna E) Date: Fri, 26 Apr 2024 16:58:23 +0000 Subject: [MEI-L] Multilingual Tutorial Updates Message-ID: Dear Colleagues, A group of us has been (slowly but surely!) working on tutorials in several languages and we invite you to consider participating as a reviewer or author of tutorials in the language(s) you are most comfortable reading/writing. * View our project task chart and workflow: https://github.com/orgs/music-encoding/projects/13/views/1?pane=info. * Notes from our meetings: https://docs.google.com/document/d/1d2o3PIq9s_XrmFyCD4ZVq7JOr6T2tpBtWldzwPjj3C4/edit. We also have a #tutorials channel on the MEI Slack, which you are welcome to join! If you are able to review tutorials in Bosnian or Polish, please reach out to me. Olja and I are currently working on these tutorials. We have a list of people in the project page (translators column) who are willing to translate or author tutorials and can add you if you are interested. We will have a working session at the upcoming Music Encoding Conference during the unconference day (May 23) and more details will be provided closer to the conference date. Best, Anna Anna E. Kijas Head, Lilly Music Library Granoff Music Center | Tufts University Pronouns: she, her, hers Book an appointment | (617) 627-2846 Co-founder of Saving Ukrainian Cultural Heritage Online (SUCHO) Administrative Chair, Music Encoding Initiative Editor, Technical Reports and Monographs in Music Librarianship (MLA) -------------- next part -------------- An HTML attachment was scrubbed... URL: