[MEI-L] Call for Papers: Music Encoding Conference, Tufts University, May 26-29, 2020

Richard Freedman rfreedma at haverford.edu
Mon Dec 2 23:38:33 CET 2019

On behalf of the Organizing and Program Committees of the Music Encoding
Conference, I am pleased to announce the call for proposals for papers,
workshops, poster sessions, and other activities to be offered during the
annual meeting, hosted by Tufts University from May 26-29, 2020.  All the
relevant information is posted below, and in the attached PDF, which you
should feel free to circulate widely.

With best wishes for a productive remainder to the term,

Richard Freedman

Call for Papers:  Music Encoding Conference, 26-29 May, 2020 (Boston, MA)

The Music Encoding Conference is the annual meeting of the Music Encoding
Initiative (MEI) community and all who are interested in the digital
representation of music.  We are pleased to announce our call for papers,
posters, panels, and workshops. The deadline for submission is 22 December
2019. (Note that this is a firm deadline--there will be no extensions.)

Music encoding is a critical component for fields and areas of study
including computational or digital musicology, digital editions, symbolic
music information retrieval, and digital libraries. This event brings
together specialists from various music research communities, including
technologists, librarians, music scholars, and students and provides an
opportunity for learning and engaging with and from each other.

The MEC will take place 26-29 May 2020 at Tufts University in Medford, MA
(in metropolitan Boston), hosted by Tisch Library and Lilly Music Library.
It is co-sponsored with the Digital Scholarship Group at Northeastern
University Library.

For detailed information about the venue and local arrangements, see the
MEC website:  https://music-encoding.org/conference/2020/.

The study of music encoding and its applications has emerged as a critical
area of interest among scholars, librarians, publishers, and the wider
music industry. The Music Encoding Conference has emerged as the foremost
international forum where researchers and practitioners from across these
varied fields can meet and explore new developments in music encoding and
its use. The Conference celebrates a multidisciplinary program, combining
the latest advances from established music encodings, novel technical
proposals and encoding extensions, and the presentation or evaluation of
new practical applications of music encoding (e.g. in academic study,
libraries, editions, commercial products).

Pre-conference workshops provide an opportunity to quickly engage with best
practice in the community. Newcomers are encouraged to submit to the main
program with articulations of the potential for music encoding in their
work, highlighting strengths and weaknesses of existing approaches within
this context.

Following the formal program an unconference session fosters collaboration
in the community through the meeting of Interest Groups, and self-selected
discussions on hot topics that emerge during the conference. Interest
Groups can also choose to meet May 24, 25, or 26 in various spaces
generously provided by the host library. (Please be in touch with
conference organizers with requests reserve these spaces.)

The program welcomes contributions from all those working on, or with, any
music encoding. In addition, the Conference serves as a focus event for the
Music Encoding Initiative community, with its annual community meeting
scheduled the day following the main program. We in particular seek to
broaden the scope of musical repertories considered, and to provide a
welcoming, inclusive community for all who are interested in this work.

Participants are encouraged to attend all four days of the MEC:


   May 26: pre-conference workshops, keynote speaker, and opening reception

   May 27: main conference (papers, posters, sessions)

   May 28: main conference (papers, posters, sessions, and closing keynote)

   May 29: community day (open community meeting in the morning, hackathon
   and interest groups)


The conference welcomes contributions from all those who are developing or
applying music encodings in their work and research. Topics include, but
are not limited to:


   data structures for music encoding

   music encoding standardisation

   music encoding interoperability / universality

   methodologies for encoding, music editing, description and analysis

   computational analysis of encoded music

   rendering of symbolic music data in audio and graphical forms

   conceptual encoding of relationships between multimodal music forms
   (e.g. symbolic music data, encoded text, facsimile images, audio)

   capture, interchange, and re-purposing of musical data and metadata

   ontologies, authority files, and linked data in music encoding and

   (symbolic) music information retrieval using music encoding

   evaluation of music encodings

   best practice in approaches to music encoding

and the use or application of music encodings in:


   music theory and analysis

   digital musicology and, more broadly, digital humanities

   music digital libraries

   digital editions

   bibliographies and bibliographic studies


   collection management



   teaching and learning

   search and browsing

   multimedia music presentation, exploration, and exhibition


Authors are invited to upload their anonymized submission for review to our
Conftool website: <https://www.conftool.net/music-encoding2019>

The final (and definitive) deadline for all submissions is 22 December 2019.
Conftool accepts abstracts as PDF files only. The submission to Conftool
must include:


   name(s) of author(s)


   abstract (see below for maximum lengths)

   current or most recent institutional affiliation of author(s) and e-mail

   proposal type: paper, poster, panel session, or workshop

   all identifying information must be provided in the corresponding fields
   of Conftool only, while the submitted PDF must anonymize the author’s

Paper and poster proposals must include an abstract of no more than 1000
words. Relevant bibliographic references may be included above this limit.
Panel discussion proposal abstracts must be no longer than 2000 words, and
describe the topic and nature of the discussion, along with short
biographies of the participants. Panel discussions are not expected to be a
set of papers which could otherwise be submitted as individual papers.

Proposals for half- or full-day pre-conference workshops, to be held on May
26th, should include the duration of the proposed workshop, as well as its
logistical and technical requirements.

The program committee will communicate the results of its deliberations on
or about January 31, 2020.

In case of questions, feel free to contact:
conference2020 at music-encoding.org.

Program Committee


   Vincent Besson, Centre d'études supérieures de la Renaissance,
   Université de Tours

   Margrethe Bue, National Library of Norway

   Joy Calico, Vanderbilt University

   Elsa De Luca, NOVA University of Lisbon

   Richard Freedman (Committee Chair), Haverford College

   Stefan Münnich, University of Basel

   Anna Plaksin, Max Weber Stiftung, Bonn

   David Weigl, University of Music and Performing Arts Vienna

Local organizing Committee


   Anna Kijas (Committee Chair), Head, Lilly Music Library, Tufts University

   Julie-Ann Bryson, Library Coordinator, Lilly Music Library, Tufts

   Sarah Connell, Assistant Director, Women Writers Project, Northeastern

   Julia Flanders, Digital Scholarship Group Director, Northeastern

   Jessica Fulkerson, Lecturer in Music, Tufts University

Richard Freedman
Professor of Music
John C. Whitehead '43 Professor of Humanities
Associate Provost for Curricular Development
Haverford College
Haverford, PA 19041

610-896-4902 (fax)


Schedule meeting time: https://goo.gl/3KN2hr
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