From stefan.muennich at unibas.ch Tue Jan 7 12:09:18 2025 From: stefan.muennich at unibas.ch (=?iso-8859-1?Q?Stefan_M=FCnnich?=) Date: Tue, 7 Jan 2025 11:09:18 +0000 Subject: [MEI-L] MEI Developer Meeting 2025 Message-ID: <41309ee032f440c68e397f139b7d1b5a@unibas.ch> Dear MEI community, Best wishes for the new year 2025! Just a little reminder that the Huygens Institute for History and Culture of the Netherlands (https://www.huygens.knaw.nl/en/home-english/) in Amsterdam will host the next MEI Developer Meeting. The event will take place from Tuesday, 4 February, at 4:00 PM, to Friday, 7 February, at midday. This working meeting offers a valuable opportunity to collaborate, share insights, and discuss various topics and ideas related to the technical development of MEI. To facilitate the preparation and organization of the meeting for our local organizer, Marnix van Berchum, we would like to ask everyone interested in joining the meeting to fill out this registration form (please contact us if not available): https://forms.gle/cwL4GzCHUNQUv9UM9 Schedule Overview: Tuesday: Informal floating opening, with the official start at 4:00 PM. Wednesday to Friday: Sessions focusing on MEI development, discussions, and collaborative work. Please find below additional information about the venue. Looking forward to meeting you in Amsterdam, Marnix, Benni & Stefan ------------------ You can find the Huygens Institute in the Spinhuis in the old city centre of Amsterdam. Address: Spinhuis Oudezijds Achterburgwal 185 1012 DK AMSTERDAM The Huygens Institute forms the KNAW Humanities Cluster together with the Meertens Institute and the International Institute of Social History (IISH). The institutes share a common operational management and services such as human resources, finance, building management and ICT. In addition, the DHLab, NL-Lab and the department for Digital Infrastructure are also part of the KNAW Humanities Cluster. -------------- next part -------------- An HTML attachment was scrubbed... URL: From thomaemartha at gmail.com Wed Jan 8 00:58:50 2025 From: thomaemartha at gmail.com (Martha Thomae) Date: Tue, 7 Jan 2025 17:58:50 -0600 Subject: [MEI-L] =?utf-8?q?TISMIR_Special_Collection=3A_=22Digital_Musico?= =?utf-8?q?logy=22_=E2=80=93_Call_for_Papers?= Message-ID: <4B83FFD4-762C-4490-BE33-66DC74C1ACC8@gmail.com> TISMIR Special Collection on “Digital Musicology” Call for Papers Deadline for submission: May 31st, 2025 https://transactions.ismir.net/announcements#call-for-papers---special-collection Scope of the collection This special collection serves as a platform for an interdisciplinary dialogue between music technology and musicology, promoting scholarly discussions on the application and usability of digital technologies to enhance music research, and capturing contemporary trends and emerging directions in digital musicology scholarship. It is simultaneously inspired by the recent “Digital Technologies Applied to Music Research Conference: Methodologies, Projects and Challenges” (Lisbon, 06.2024), alongside reflections and consolidation celebrating a decade of contributions from the international Digital Libraries for Musicology conference (DLfM), which held its first event in London in September 2014. We welcome discussions on pressing issues in the digital humanities, such as cultural heritage preservation, FAIR principles and interconnected repertories, digital sustainability, and increasing awareness and access to digital music in non-academic contexts. We also provide a venue for reflecting upon, re-evaluating, and revisiting research previously presented at DLfM, which has since been substantially extended or adapted, or for surveying and summarising technologies and methodologies that have emerged as instrumental or prevalent in the digital musicology research community. By bringing together scholars from digital libraries, humanities, computational musicology, and MIR, this collection aims to foster a broader mutual understanding of the needs, challenges, and desired outcomes within each of these areas. It seeks to help scholars evaluate methodologies and research questions, ultimately contributing to the development of new, more dynamic, inclusive and integrated research that benefits from diverse contributions. From a musicologist’s perspective, it will explore how digital technologies are transforming research practices and examine the extent of interdisciplinary collaboration between historical musicologists and music technology scholars in advancing our understanding and use of music. Guest Editors Elsa De Luca (lead). Researcher at CESEM-IN2PAST, NOVA University Lisbon Ichiro Fujinaga. Professor at McGill University David Lewis. Lecturer at Goldsmiths, University of London Kevin Page. Senior Researcher and Associate Faculty at the University of Oxford e-Research Centre Martha Thomae. Post-doctoral researcher at CESEM-IN2PAST, NOVA University Lisbon Topics and submission guidelines at https://account.transactions.ismir.net/index.php/up-j-tismir/libraryFiles/downloadPublic/4 (or attached PDF). If you are considering submitting to this special issue, it would greatly help our planning if you let us know by replying to elsadeluca at fcsh.unl.pt Kind regards, Martha E. Thomae (on behalf of the GE) — Martha E. Thomae (PhD Music Technology, McGill University) Postdoctoral Research Fellow at NOVA University Lisbon  -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: CFP Special Collection TISMIR_Polished-MAR.pdf Type: application/pdf Size: 180894 bytes Desc: not available URL: -------------- next part -------------- An HTML attachment was scrubbed... URL: From candidabillie.mantica at unipv.it Thu Jan 9 13:06:09 2025 From: candidabillie.mantica at unipv.it (Candida Billie Mantica) Date: Thu, 9 Jan 2025 13:06:09 +0100 Subject: [MEI-L] =?utf-8?q?Call_for_Applications_=28deadline_20_January?= =?utf-8?q?=29=3A_One-Year_Research_Grant_in_Digital_Musicology_?= =?utf-8?q?=E2=80=93_University_of_Pavia=2C_Department_of_Musicolog?= =?utf-8?q?y_and_Cultural_Heritage_=28Cremona=29?= Message-ID: Dear All, The Department of Musicology and Cultural Heritage (Cremona) of the University of Pavia (Italy) invites applications for a one-year Research Grant (‘assegno di ricerca’) within the multidisciplinary project *VerDigital*, funded by the Ministry of University and Research under the National Recovery and Resilience Plan (NRRP), Mission 4, “Education and Research” – Component 2, “From Research to Business” – Investment line 1.2, “Funding projects presented by young researchers”, funded by the European Union – NextGenerationEU. In this context, the successful candidate will contribute to the following objectives: 1) design and develop a model for the digital critical edition of the score of *Adelson e Salvini*, to be edited by the Principal Investigator, Dr Candida Billie Mantica; 2) design and develop an interactive system for the score’s fruition, which will support the use of alternative variants; 3) assist in completing a model for the digital critical edition of Bellini’s preparatory materials, in close collaboration with the Principal Investigator and the research team. Applicants should demonstrate: – mastery of commonly used music notation software (e.g., Sibelius and Finale); – experience with up-to-date tools for creating digital critical editions of musical texts, including MEI, TEI, Edirom, Verovio, and MEI-Friend. Further details, including application instructions, are available at https://unipv.portaleamministrazionetrasparente.it/index.php?id_oggetto=22&id_doc=25632 For additional information, please contact the project’s Principal Investigator at candidabillie.mantica at unipv.it. Please, note that the *deadline *for submission of applications is Monday, *20th January 2025, 12 pm CET time*, and the Grant is expected to start on *1st February 2025*. Best regards, Candida Billie Mantica ------------------------- Dr Candida Billie Mantica Università degli Studi di Pavia Dipartimento di Musicologia e Beni Culturali Corso Garibaldi 178 – 26100, Cremona (Italia) *tel:* +39 0372 1800310 *e-mail*: candidabillie.mantica at unipv.it -------------- next part -------------- An HTML attachment was scrubbed... URL: From luca.ludovico at unimi.it Tue Jan 7 09:15:59 2025 From: luca.ludovico at unimi.it (Luca Andrea Ludovico) Date: Tue, 07 Jan 2025 08:15:59 -0000 Subject: [MEI-L] Computer Supported Music Education @ CSEDU 2025 - 2nd CFP In-Reply-To: References: Message-ID: [Apologies for cross-postings] [Please distribute] 17th International Conference on Computer Supported Education (CSEDU 2025) Special session on Computer Supported Music Education (CSME 2025) - 6th 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 Porto, Portugal, on April 1-3, 2025. 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 analysis, creation, and performance. Accepted papers, presented at the conference by at least one of the authors, will be published in the Conference Proceedings under an ISBN number. They will be obtainable on paper and digital support and made available for online consultation at the SCITEPRESS Digital Library. The proceedings will be submitted to SCOPUS, Google Scholar, DBLP, Semantic Scholar, EI, and Web of Science / Conference Proceedings Citation Index for indexation. Important dates * Paper Submission: January 30, 2025 * Authors Notification: February 13, 2025 * Camera Ready and Registration: February 21, 2025 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 Associate Professor Laboratory of Music Informatics (LIM), Department of Computer Science, University of Milan -------------- next part -------------- An HTML attachment was scrubbed... URL: From b.w.bohl at gmail.com Thu Jan 23 14:31:15 2025 From: b.w.bohl at gmail.com (Benjamin W. Bohl) Date: Thu, 23 Jan 2025 14:31:15 +0100 Subject: [MEI-L] MEI 5.1 Released Message-ID: MEI 5.1 Released We are thrilled to announce the official release of *MEI 5.1*! This update focuses primarily on maintenance and consistency improvements, with some notable enhancements: Key Updates in MEI 5.1: Enhancements to the Tablature Module One of the highlights is the full integration of support for German Lute Tablature (GLT). Corrections to Guidelines The description of the || attribute in the || element has been corrected to clarify that empty staff lines will not be displayed if the value is set to ‘true.’ Schema Improvements Introduction of |att.dataSelecting| and its addition to |symbolDef|, along with the inclusion of the value ‘unspecified’ for bracket spans. These improvements were made possible through the dedicated work of our community. A special “Thank you!” goes to @musicog , @maxrothman , and @janjusolja , who made their first contributions and all contributors to MEI! The release managers for MEI 5.1 were the Technical Co-chairs @bwbohl and @musicenfanthen . Looking Ahead to MEI 6: We are already looking forward to the next major release, MEI 6, and invite the community to actively participate in its planning and development. Your ideas and contributions are vital to the ongoing success of the project. Additional Information For more details, including the full release notes and updated documentation, visit: * MEI 5.1 Release Notes * MEI Sample Encodings v5.1 - A collection of updated sample encodings demonstrating the features and improvements of MEI 5.1. * MEI Encoding Tools v5.1 - Updated tools for working with MEI data, optimized for the latest schema. *Your MEI Development Team* -------------- next part -------------- An HTML attachment was scrubbed... URL: From luca.ludovico at unimi.it Mon Jan 27 14:05:08 2025 From: luca.ludovico at unimi.it (Luca Andrea Ludovico) Date: Mon, 27 Jan 2025 13:05:08 +0000 Subject: [MEI-L] Computer Supported Music Education @ CSEDU 2025 - 3rd CFP Message-ID: [Apologies for cross-postings] [Please distribute] 17th International Conference on Computer Supported Education (CSEDU 2025) Special session on Computer Supported Music Education (CSME 2025) – 6th 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 Porto, Portugal, on April 1-3, 2025. 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 analysis, creation, and performance. Accepted papers, presented at the conference by at least one of the authors, will be published in the Conference Proceedings under an ISBN number. They will be obtainable on paper and digital support and made available for online consultation at the SCITEPRESS Digital Library. The proceedings will be submitted to SCOPUS, Google Scholar, DBLP, Semantic Scholar, EI, and Web of Science / Conference Proceedings Citation Index for indexation. Important dates * Paper Submission: January 30, 2025 * Authors Notification: February 13, 2025 * Camera Ready and Registration: February 21, 2025 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 Associate Professor Laboratory of Music Informatics (LIM), Department of Computer Science, University of Milan -------------- next part -------------- An HTML attachment was scrubbed... URL: From Karen.Desmond at mu.ie Wed Feb 5 18:48:35 2025 From: Karen.Desmond at mu.ie (Karen Desmond) Date: Wed, 5 Feb 2025 17:48:35 +0000 Subject: [MEI-L] Senior postdoctoral position (22 months) on the ERC-BROKENSONG project Message-ID: Please contact Karen Desmond (karen.desmond at mu.ie) with any informal enquiries about this posting: The Music Department at Maynooth University invites applications for a 22-month position as a Senior Postdoctoral Fellow to work with Professor Karen Desmond’s research team on the project “Polyphonic Singing and Communities of Music Writing in Medieval Britain and Ireland, c. 1150 to c. 1350” (BROKENSONG) (funded by a 5-year ERC Consolidator Grant). For this postdoctoral position, we seek a candidate with a background in computational musicology, digital humanities, computer science, artificial intelligence, mathematics/statistics, with a PhD in one of these fields or a closely related field. The candidate should have several years of demonstrated programming experience, preferably post PhD, in relevant programming languages such as Python, scripting languages (Javascript, Typescript), and/or XML and XSLT, and have worked with systems and standards related to the encoding, presentation, and management of humanities data, with a preference for those experienced with the xml-based encoding standards for image and/or music data (MEI, IIIF), or that they can quickly become proficient in these areas. The BROKENSONG project examines singing in medieval Britain and Ireland during a transformative period of western music history, c. 1150-1350. In the initial phase the project team will work together to digitally encode approximately 600 music compositions copied on over 120 fragmentary music manuscripts, and the ensuing phase will analyse this data. The project will reconstruct a lost vibrant musical culture, contextualizing their music with their communities or practice. Salary: Senior Post-doctoral Researcher - €52,716– €57,332 p.a. (Points 1- 4) Appointments will be made in accordance with public sector pay provisions. Closing Date: 23:30hrs (local Irish time) on Tuesday, 25th February 2025. Please note all applications must be made via our Online Recruitment Portal at the following link: https://www.maynoothuniversity.ie/human-resources/vacancies Applications must be submitted by the closing date and time specified above. Any applications which are still in progress at the closing time on the specified closing date will be cancelled automatically by the system. Late applications will not be accepted. Maynooth University is an equal opportunities employer The position is subject to the Statutes of the University -------------- next part -------------- An HTML attachment was scrubbed... URL: From elsadeluca at fcsh.unl.pt Tue Feb 18 16:19:49 2025 From: elsadeluca at fcsh.unl.pt (Elsa De Luca) Date: Tue, 18 Feb 2025 15:19:49 +0000 Subject: [MEI-L] =?utf-8?q?Submission_Deadline_Extension_=E2=80=93_Digita?= =?utf-8?q?l_Musicology_Special_Collection_=28TISMIR=29?= Message-ID: Apologies for cross-posting Dear Authors, We are pleased to announce an extension for the submission deadline of the *Digital Musicology* special collection in *TISMIR* . In response to high interest and requests from potential contributors, the new submission deadline is now *June **30, 2025*. This extension provides additional time for authors to refine and submit their high-quality research. We encourage you to take advantage of this opportunity and contribute to this exciting collection. For submission guidelines and further details, please visit https://transactions.ismir.net/about/submissions or contact us at elsadeluca at fcsh.unl.pt. We look forward to your contributions! *Best regards*, Elsa De Luca (lead guest editor), Ichiro Fujinaga, David Lewis, Kevin Page & Martha Thomae Elsa *D*e Luca PI of Echoes from the Past: Unveiling a Lost Soundscape with Digital Analysis Personal website https://sites.google.com/fcsh.unl.pt/elsadeluca/ Centre for the Study of the Sociology and Aesthetics of Music Faculty of Social and Human Sciences (FCSH) NOVA University Lisbon -------------- next part -------------- An HTML attachment was scrubbed... URL: From rfreedma at haverford.edu Tue Feb 18 18:34:36 2025 From: rfreedma at haverford.edu (Richard Freedman) Date: Tue, 18 Feb 2025 18:34:36 +0100 Subject: [MEI-L] =?utf-8?q?Submission_Deadline_Extension_=E2=80=93_Digita?= =?utf-8?q?l_Musicology_Special_Collection_=28TISMIR=29?= In-Reply-To: References: Message-ID: Thanks! Richard Freedman Professor of Music John C. Whitehead '43 Professor of Humanities Haverford College Haverford, PA 19041 Distinguished Fellow Faculty of Humanities The Hebrew University of Jerusalem (2024 – 2026) http://www.haverford.edu/users/rfreedma Schedule meeting here . On Tue, Feb 18, 2025 at 4:21 PM Elsa De Luca wrote: > Apologies for cross-posting > > > Dear Authors, > > We are pleased to announce an extension for the submission deadline of the > *Digital Musicology* > > special collection in *TISMIR* > > . In response to high interest and requests from potential contributors, > the new submission deadline is now *June **30, 2025*. > > This extension provides additional time for authors to refine and submit > their high-quality research. We encourage you to take advantage of this > opportunity and contribute to this exciting collection. > > For submission guidelines and further details, please visit > https://transactions.ismir.net/about/submissions or contact us at > elsadeluca at fcsh.unl.pt. > > We look forward to your contributions! > > *Best regards*, > Elsa De Luca (lead guest editor), Ichiro Fujinaga, David Lewis, Kevin Page > & Martha Thomae > > > > > > Elsa *D*e Luca > > PI of Echoes from the Past: Unveiling a Lost Soundscape with Digital > Analysis > > Personal website https://sites.google.com/fcsh.unl.pt/elsadeluca/ > > Centre for the Study of the Sociology and Aesthetics of Music > > Faculty of Social and Human Sciences (FCSH) > > NOVA University Lisbon > > > > _______________________________________________ > 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 Mon Feb 24 17:13:56 2025 From: Anna.Kijas at tufts.edu (Kijas, Anna E) Date: Mon, 24 Feb 2025 16:13:56 +0000 Subject: [MEI-L] MEI Community Meeting - April 8th Message-ID: Dear colleagues, Please join us on April 8, 10 AM to 11:30 AM (EDT) / 4 PM to 5:30 PM (CEST) for a community meeting. For this meeting, we would like to invite MEI community members to share updates about their projects, new software or tools, teaching resources, etc. that are relevant to the music encoding community. Chairs of an MEI IG or working groups are also invited to share any updates on behalf of their groups. Please plan about 5-7 minutes per update. Sign up via this short form to be added to the agenda: https://forms.gle/VmnSc4BgswxJpRRB8. Meeting information Date: April 8, 2025 Time: 10 AM to 11:30 AM (EST) Zoom link: https://tufts.zoom.us/j/92215456574?pwd=dP0oZDTg697ltCi51E3AguB8oUJEX4.1&from=addon Meeting ID: 922 1545 6574 See you in April! Best, Anna Anna E. Kijas Assistant Director, Digital Scholarship & Lilly Music Library Tisch Library | 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 Anna.Kijas at tufts.edu Mon Feb 24 17:14:06 2025 From: Anna.Kijas at tufts.edu (Kijas, Anna E) Date: Mon, 24 Feb 2025 16:14:06 +0000 Subject: [MEI-L] MEI Community Forum Message-ID: Agenda will be shared closer to the meeting date. Are you working on an MEI project, building tools or creating teaching resources that our community should know about? Chairs of an MEI IG or working group are also invited to share any updates on behalf of their groups. Please plan 5-7 minutes max per update. Sign up here: https://forms.gle/VmnSc4BgswxJpRRB8. [https://st2.zoom.us/static/6.3.31704/image/new/ZoomLogo_110_25.png] Hi there, Anna E Kijas is inviting you to a scheduled Zoom meeting. Join Zoom Meeting One tap mobile: US: +16465588656,,92215456574# or +16469313860,,92215456574# Meeting URL: https://tufts.zoom.us/j/92215456574?pwd=dP0oZDTg697ltCi51E3AguB8oUJEX4.1&from=addon Meeting ID: 922 1545 6574 Passcode: 933199 Join by Telephone For higher quality, dial a number based on your current location. Dial: +1 646 558 8656 US (New York) +1 646 931 3860 US +1 301 715 8592 US (Washington DC) +1 305 224 1968 US +1 309 205 3325 US +1 312 626 6799 US (Chicago) +1 253 215 8782 US (Tacoma) +1 346 248 7799 US (Houston) +1 360 209 5623 US +1 386 347 5053 US +1 507 473 4847 US +1 564 217 2000 US +1 669 444 9171 US +1 669 900 6833 US (San Jose) +1 689 278 1000 US +1 719 359 4580 US +1 253 205 0468 US Meeting ID: 922 1545 6574 International numbers Join from an H.323/SIP room system H.323: 144.195.19.161 (US West) 206.247.11.121 (US East) 115.114.131.7 (India Mumbai) 115.114.115.7 (India Hyderabad) 159.124.15.191 (Amsterdam Netherlands) 159.124.47.249 (Germany) 159.124.104.213 (Australia Sydney) 159.124.74.212 (Australia Melbourne) 170.114.180.219 (Singapore) 64.211.144.160 (Brazil) 159.124.132.243 (Mexico) 159.124.168.213 (Canada Toronto) 159.124.196.25 (Canada Vancouver) 170.114.194.163 (Japan Tokyo) 147.124.100.25 (Japan Osaka) Meeting ID: 922 1545 6574 Passcode: 933199 SIP: 92215456574 at zoomcrc.com Passcode: 933199 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: text/calendar Size: 4417 bytes Desc: not available URL: From raffaeleviglianti at gmail.com Mon Mar 10 14:07:16 2025 From: raffaeleviglianti at gmail.com (Raffaele Viglianti) Date: Mon, 10 Mar 2025 09:07:16 -0400 Subject: [MEI-L] JTEI Issue 18 | first articles published Message-ID: Dear MEI Community, We are pleased to announce the publication of the first five articles of Issue 18 (https://doi.org/10.4000/12na7) of the Journal of the Text Encoding Initiative (JTEI). This issue follows a rolling issue procedure, whereby new articles will be added continuously. The articles have been selected, greatly extended, and peer-reviewed from “Encoding Cultures”, the 2023 joint MEC and TEI Conference in Paderborn, Germany. * Laura Mazzagufo, Pietro Sichera, Daria Spampinato and Angelo Mario Del Grosso. “Letters and Musical Sketches. Toward a Proper Integration of Bellini’s Writings.” https://doi.org/10.4000/12na6 * Markus Lepper and Baltasar Trancón y Widemann. “Using d2d for Writing XML. The multiNotes Text Architecture for Musical Analysis.” https://doi.org/10.4000/132ex * Emiliano Ricciardi and Craig Stuart Sapp. “Studying Poetry through Music: The Tasso in Music Project.” https://doi.org/10.4000/13au4 * Shintaro Seki. “Making Japanese Imperial Court Music Scores Machine-Readable. Encoding of Hichiriki Notation as a Case Study.” https://doi.org/10.4000/13d1r * Richard Freedman and Daniel Russo-Batterham. “Lessons from the Classroom: MEI for Data Scientists.” https://doi.org/10.4000/13e5b We would like to express our gratitude to the authors, the peer reviewers, and JTEI’s editorial team—Joel Kalvesmaki, Pietro Maria Liuzzo, Ana Salgado, Ron van den Branden, and Tanja Wissik—who provided the dedication, passion, and expertise that are making this publication possible. More articles are under development and will be published in the coming months. On behalf of the guest editors, Raffaele Viglianti, Johannes Kepper, and Peter Stadler -- Raffaele Viglianti, PhD Senior Research Software Developer | Maryland Institute for Technology in the Humanities Affiliate Faculty | School of Music, University of Maryland Technical Editor and Micro-Editions Editor | *Scholarly Editing * -------------- next part -------------- An HTML attachment was scrubbed... URL: From annplaksin at gmx.net Tue Mar 11 09:20:15 2025 From: annplaksin at gmx.net (annplaksin at gmx.net) Date: Tue, 11 Mar 2025 09:20:15 +0100 Subject: [MEI-L] Registration Open for Music Encoding Conference 2025 + Travel Bursaries Available! Message-ID: <008c01db925e$6afbf580$40f3e080$@gmx.net> Dear colleagues, We are excited to announce that registration is now open for Music Encoding Conference 2025, taking place on 3-6 June 2025 at City, University of London, London (UK). MEC is an important event for scholars in digital editing, digital musicology and digital libraries, and is the annual meeting of the Music Encoding Initiative (MEI) community. Registration details: ➡ Info page: https://music-encoding.org/conference/2025/registration/ ➡ Register here: https://www.conftool.net/mec2025 Additionally, with the generous support of the Music Encoding Initiative, we are offering a limited number of travel bursaries to support students, early-career scholars, and under-resourced researchers. Bursary details & application: https://music-encoding.org/conference/2025/bursaries/ We look forward to welcoming you to the Music Encoding Conference 2025! Kind regards, Anna Plaksin Programme Committee Chair Music Encoding Conference 2025 https://music-encoding.org/conference/2025/ From Anna.Kijas at tufts.edu Tue Apr 1 21:13:39 2025 From: Anna.Kijas at tufts.edu (Kijas, Anna E) Date: Tue, 1 Apr 2025 19:13:39 +0000 Subject: [MEI-L] Follow MEI on BlueSky and Mastodon & Contribute Social Media Posts! Message-ID: Dear MEI Colleagues, On behalf of the MEI Board, I’d like to announce that we have new social media accounts on Bluesky and Mastodon. We will no longer maintain the account on X. We invite you to follow these accounts at: * https://bsky.app/profile/music-encoding.bsky.social * https://mastodon.social/@MusicEncoding We will curate content for these accounts from the community as well as use them for general announcements, call for papers, elections, and updates relevant to the MEI community. If you have content, you’d like us to post on these accounts, please fill out this form: https://forms.gle/zK4mC7bktdjNwmez9. Maristella Feustle will coordinate social media outreach. Thank you to Maristella, Andrew Hankinson, Johannes Kepper, and the MEI Board members for their assistance in setting up the accounts! If you have any questions or feedback, please reach out to Maristella. You can also reach out to me or a member of the MEI Board. Best, Anna Anna E. Kijas Assistant Director, Digital Scholarship & Lilly Music Library Tisch Library | 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 Anna.Kijas at tufts.edu Thu Apr 3 18:10:26 2025 From: Anna.Kijas at tufts.edu (Kijas, Anna E) Date: Thu, 3 Apr 2025 16:10:26 +0000 Subject: [MEI-L] Reminder: April 8th MEI Community Forum Message-ID: Dear Colleagues, This is a reminder that the next MEI Community Forum will be held on April 8th (Tuesday) at 10 AM (EDT) / 4 PM (CEST). Please join us! Chairs of an MEI IG, team or working group are invited to share any updates on behalf of their groups. Community members working on an MEI project, building tools, creating teaching resources, etc. that our community should know about, please share your updates! Sign up here and plan 5-7 minutes max per update: https://forms.gle/VmnSc4BgswxJpRRB8. Best, Anna [Image] Hi there, Anna E Kijas is inviting you to a scheduled Zoom meeting. Join Zoom Meeting One tap mobile: US: +16465588656,,92215456574# or +16469313860,,92215456574# Meeting URL: https://tufts.zoom.us/j/92215456574?pwd=dP0oZDTg697ltCi51E3AguB8oUJEX4.1&from=addon Meeting ID: 922 1545 6574 Passcode: 933199 Join by Telephone For higher quality, dial a number based on your current location. Dial: +1 646 558 8656 US (New York) +1 646 931 3860 US +1 301 715 8592 US (Washington DC) +1 305 224 1968 US +1 309 205 3325 US +1 312 626 6799 US (Chicago) +1 253 215 8782 US (Tacoma) +1 346 248 7799 US (Houston) +1 360 209 5623 US +1 386 347 5053 US +1 507 473 4847 US +1 564 217 2000 US +1 669 444 9171 US +1 669 900 6833 US (San Jose) +1 689 278 1000 US +1 719 359 4580 US +1 253 205 0468 US Meeting ID: 922 1545 6574 International numbers Join from an H.323/SIP room system H.323: 144.195.19.161 (US West) 206.247.11.121 (US East) 115.114.131.7 (India Mumbai) 115.114.115.7 (India Hyderabad) 159.124.15.191 (Amsterdam Netherlands) 159.124.47.249 (Germany) 159.124.104.213 (Australia Sydney) 159.124.74.212 (Australia Melbourne) 170.114.180.219 (Singapore) 64.211.144.160 (Brazil) 159.124.132.243 (Mexico) 159.124.168.213 (Canada Toronto) 159.124.196.25 (Canada Vancouver) 170.114.194.163 (Japan Tokyo) 147.124.100.25 (Japan Osaka) Meeting ID: 922 1545 6574 Passcode: 933199 SIP: 92215456574 at zoomcrc.com Passcode: 933199 Anna E. Kijas Assistant Director, Digital Scholarship & Lilly Music Library Tisch Library | 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: -------------- next part -------------- A non-text attachment was scrubbed... Name: image002.png Type: image/png Size: 294 bytes Desc: image002.png URL: From ichiro.fujinaga at mcgill.ca Wed Apr 16 09:32:58 2025 From: ichiro.fujinaga at mcgill.ca (Ichiro Fujinaga) Date: Wed, 16 Apr 2025 07:32:58 +0000 Subject: [MEI-L] Fwd: Job offer References: <678756cb565a43e5916ee55759a401f1@oeaw.ac.at> Message-ID: <76CBA92C-B007-4916-BB45-DC5EBE989503@mcgill.ca> Since the official deadline has passed, please apply through via the email at the bottom. Best, Ichiro POSTDOC POSITION (F/M/X) in the area of Music Information Retrieval/Optical Music Recognition At the Austrian Centre for Digital Humanities and Cultural Heritage (ACDH-CH), an institute of the Austrian Academy of Sciences (OeAW), Austria’s largest non-university research institution, the Department of Musicology has a vacancy for an POSTDOC POSITION (F/M/X) in the area of Music Information Retrieval/Optical Music Recognition (full time). To be filled from June 1st, 2025 at the earliest and for a duration of 6 months. At our department, we are seeking to strengthen our team for an innovative project in the field of digital music analysis and processing. With our interdisciplinary team of musicologists and digital humanists, we work at the interface between technology and musical cultural heritage. Your responsibilities * Further development and optimisation of OMR models for recognising chant notation in digitised medieval manuscripts * Development of solutions for the automatic merging of fragmented notation and text parts in chant books * Implementation of algorithms for automatic verification and correction of student-created ground-truth data for music notation * Development of methods for automatic identification of chants according to the CANTUS and CANTUS Index reference databases * Design and implementation of a framework for intelligent post-processing of recognised data from the Transkribus environment * Transformation of recognised music and text data into MEI format * Optional: Development of methods for synchronising lyrics and notation at syllable level * Documentation of developed methods and preparation of scientific publications * Collaboration with an interdisciplinary team of musicologists, digital humanists and students Your Profil * Completed PhD in Computer Science or a related field with a focus on Music Information Retrieval, Optical Music Recognition or Document Image Analysis * Demonstrated expertise in applying modern deep learning techniques (CNN, RNN, Transformer) to image transcription problems (OCR, HTR, OMR) * Experience with machine learning frameworks such as PyTorch, TensorFlow, Keras, Scikit-learn, NumPy and Pandas * Good programming skills in Python and preferably in TypeScript/JavaScript * Experience in developing web applications with frameworks such as Node.js, Angular or Vue.js is an advantage * Knowledge of DevOps technologies such as Docker and Kubernetes is desirable * Papers at relevant conferences (ISMIR, ICDAR, ICFHR) and/or publications in specialist journals * Very good command of English, both written and spoken; knowledge of German is an advantage * High motivation, creativity and initiative as well as teamwork skills Our offer * A PostDoc position in an innovative research field for 6 months * The opportunity to participate in international collaborative projects * A highly motivated, international research team * Access to state-of-the-art technical infrastructure and extensive datasets * Flexible working hours The initial monthly gross salary is EUR 4.930,60 in accordance with the collective agreement for employees of the Austrian Academy of Sciences. Based on your experience and academic degree a higher salary is negotiable. The employment will start at the earliest in June 1st, 2025 and run initially for 6 months. Interested? Take the opportunity and send us your application today (including CV, statement of motivation and references of previous projects) by clicking on "jetzt bewerben". The application deadline is 15.04.2025. Online application: https://oeawnr.onlyfy.jobs/application/en/apply/r5p79fw1guunu17actpgfnl4dwwaza1 [If you are unable to apply in time for the deadline, please contact robert.klugseder at oeaw.ac.at. A slightly later application may be possible.] -------------- next part -------------- An HTML attachment was scrubbed... URL: From annplaksin at gmx.net Tue Apr 22 10:14:43 2025 From: annplaksin at gmx.net (annplaksin at gmx.net) Date: Tue, 22 Apr 2025 10:14:43 +0200 Subject: [MEI-L] Music Encoding Conference 2025 Programme Available Message-ID: <023d01dbb35e$9b0bc860$d1235920$@gmx.net> Dear List, We are pleased to announce that the programme for the Music Encoding Conference 2025 is now available. The conference will take place at City University, London, UK, from 3-6 June 2025. Please view the full programme here: https://music-encoding.org/conference/2025/program/ We also remind you that registration is open, with early-bird rates available until 30 April 2025. For registration details and to secure your attendance at a reduced rate, please visit: https://music-encoding.org/conference/2025/registration/ We look forward to your participation. Best regards, Anna Plaksin Programme Committee Chair Music Encoding Conference 2025 From f.wiering at uu.nl Wed Apr 23 14:20:50 2025 From: f.wiering at uu.nl (Frans Wiering) Date: Wed, 23 Apr 2025 14:20:50 +0200 Subject: [MEI-L] CfP 3rd International Conference on Computational and Cognitive Musicology In-Reply-To: <55c9b138d618e471d56c47d47d63d5f4.squirrel@webmail02.uoa.gr> References: <55c9b138d618e471d56c47d47d63d5f4.squirrel@webmail02.uoa.gr> Message-ID: <1030147e-8e31-4721-8aad-cf0687d089d5@uu.nl> Dear All, The Third International Conference on Computational and Cognitive Musicology (ICCCM 2025) will take place at Aalborg University, Denmark, on October 8–10, 2025. Following editions in Athens (2023) and Utrecht (2024), ICCCM 2025 invites researchers to explore the intersection of musicology, computational methods and cognitive science in advancing our understanding of music and musical processes. Call for Abstracts Third International Conference on Computational and Cognitive Musicology (ICCCM2025) Aalborg University, Aalborg, Denmark, 8-10 October 2025 Key Information for Authors Submission Types: Abstracts for oral presentations or posters Submission Limits: max. 300 words Submission Deadline: 15 June, 2025 Notification of Acceptance: 1 July, 2025 Submission portal: See conference website: https://digital.musicology.org/icccm2025/ Publication: Accepted abstracts published online; extended papers considered for a special issue of the Journal of New Music Research. Conference Theme: "Getting to Grips with Musical Complexity" This year’s theme encourages submissions addressing large and complex musical works or insights from diverse digital music collections. We especially welcome research using innovative computing paradigms (e.g., massive parallelism, quantum computing) to tackle challenges in musicology and music cognition. However, as in previous years, we remain fully open to any research that advances our understanding of music through computational approaches. Topics of interest include, but are not limited to: Computational modeling of musical history using big data Theories of musical structure implemented computationally Computational approaches to the study of music perception and cognition Automatic music transcription Computational music analysis Digital representation of musical information Development and use of digital corpora for musicological research Health-related applications of music computing Computational ethnomusicology Teaching computational and digital musicology User experience design for musicological tools ICCCM stands out for its focus on fundamental research rather than application-driven perspectives, distinguishing it from conferences like ISMIR, MCM, or ICMPC. Its small size and informal atmosphere make it especially welcoming to early-stage researchers, who have been a significant presence at past editions. Submission Guidelines We invite submission of abstracts (max. 300 words) for oral presentations and posters, outlining research questions, methods, and contributions. Submission Deadline: June 15th, 2025 Notification: July 1st 2025 Submission Portal: See conference website: https://digital.musicology.org/icccm2025/ There will be a light-weight review procedure regarding match to the aim of the conference, originality and quality of the proposal, and variety in content. Since space is restricted, we will also take order of submission into account. Accepted abstracts will be published online, with authors invited to submit extended papers for a special issue of the Journal of New Music Research. Travel stipends Authors of accepted papers whose travel and accommodation will not be funded by their employer or a grant and have no other source of funding to cover the expenses they incur as a result of attending the conference, are eligible to apply for a grant to help with covering these costs. There will only be a limited number of these grants available and these will be awarded on a first-come, first-served basis. If you would like to be considered for receiving one of these grants, please include a short statement with your submission, declaring that you do not have any other source of financial support that would cover the costs of you attending the conference. You will also need to supply an estimate of the total cost of your trip, with relevant documentation (e.g., quotes from an online travel agency). Acknowledgements The conference is generously supported by the Carlsberg Foundation, grant CF24-2307. Contact Stay tuned to the conference website (https://digital.musicology.org/icccm2025/) for updates. For general queries regarding the conference, contact the conference chair, David Meredith . Queries regarding submission should be sent through EasyChair. We look forward to your contributions to ICCCM2025! On behalf of the Organising Committee, Christina Anagnostopoulou -- Music Cognition, Computation and Community Lab Department of Music Studies National and Kapodistrian University of Athens From david.lewis at oerc.ox.ac.uk Tue May 6 19:06:34 2025 From: david.lewis at oerc.ox.ac.uk (David Lewis) Date: Tue, 6 May 2025 17:06:34 +0000 Subject: [MEI-L] Question for users of the element Message-ID: Hi all, As some of you may have noticed, Verovio has recently gained the ability to display annotations that refer to parts of a score (i.e. not the header information or commentary about the encoding itself). In the process of adding this, we had a small discussion about how to characterise different uses of in MEI so that software can interpret them clearly. Since the guidelines are at times a little unspecific (or confusing), we’re interested in hearing from people who are _already using_ in their encodings. As a preliminary step, we have used a particular @type value on () to specify the sorts of annotation that we actually want to display, but this is a temporary measure. @type is not intended to carry important semantics in this way, but we can use it without changing the current schema. Before we propose a longer term solution, we’d like to check for unintended consequences. If you've used before or are using it now, we'd like to hear how the following options would affect your work or your encodings. 1. Introduce a @motivation attribute (informed by web annotation and TEI) with a fixed set of values – assessing, bookmarking, classifying, commenting, describing, editing, highlighting, identifying, linking, moderating, questioning, replying, tagging. New motivations would have to be created as part of external authorities linked using motivation.auth / motivation.url It has been suggested that we would distinguish annotations to display from others by the presence or absence of @motivation, or by the specific values of @motivation 2. Use @func or some other relatively lightweight approach to distinguish (e.g. 3. Use a new, additional element for the things we need to distinguish (TEI uses and , which MEI can't for obvious reasons) These options are not exclusive – we can have @motivation, @func _and_ different elements. Any one of them has the potential to help clarify things, but it could also complicate existing uses or make unclear what is currently clear. We look forward to benefiting from the combined experience of the community. Thanks for your input David Lewis & Kevin Page AHRC Annote Project From ichiro.fujinaga at mcgill.ca Thu May 8 15:52:19 2025 From: ichiro.fujinaga at mcgill.ca (Ichiro Fujinaga) Date: Thu, 8 May 2025 13:52:19 +0000 Subject: [MEI-L] LinkedMusic Workshops Message-ID: <7762E2B7-98C8-46C4-81B1-BFD6AD3CC484@mcgill.ca> Greetings, We are pleased to announce two LinkedMusic Workshops taking place this year: 2025-06-02 Monday 14:00–15:30 as part of the Music Encoding Conference at City St George's, University of London at Northumberland Square, EC1V 0HB, London 2025-07-06 Sunday 15:30–16:30 as part of the IAML Congress at "Kleines Studio,” Mozarteum University, Mirabellplatz 1, Salzburg Both workshops are open to all and free to attend. For more details, please visit https://linkedmusic.ca/ Best regards, Ichiro From f.wiering at uu.nl Mon May 12 17:03:45 2025 From: f.wiering at uu.nl (Frans Wiering) Date: Mon, 12 May 2025 17:03:45 +0200 Subject: [MEI-L] Second call for abstracts ICCCM2025 (Aalborg, 8-10 October 2025) Message-ID: 2nd Call for AbstractsThird International Conference on Computational and Cognitive Musicology (ICCCM2025)Aalborg University, Aalborg, Denmark, 8-10 October 2025 Key Information for Authors * Submission Types: Abstracts for oral presentations or posters * Submission Limits:max. 300 words for main text + max. 1 page for references * Submission Deadline: 15 June, 202530 June, 2025 * Notification of Acceptance: 1 July, 202515 July, 2025 * Submission portal: Send your abstract as a PDF file to dave at create.aau.dk * Publication: Accepted abstracts published online; extended papers considered for a special issue of the Journal of New Music Research. Conference OverviewThe Third International Conference on Computational and Cognitive Musicology (ICCCM2025) will take place at Aalborg University, Denmark, on October 8–10, 2025. Following editions in Athens (2023) and Utrecht (2024), ICCCM2025 invites researchers to explore the intersection of musicology, computational methods and cognitive science in advancing our understanding of music and musical processes. Conference Theme: "Getting to Grips with Musical Complexity" This year’s theme encourages submissions addressing large and complex musical works or insights from diverse digital music collections. We especially welcome research using innovative computing paradigms (e.g., massive parallelism, quantum computing) to tackle challenges in musicology and music cognition. However, as in previous years, we remain fully open to any research that advances our understanding of music through computational approaches. Topics of interest include, but are not limited to: * Computational modeling of musical history using big data * Theories of musical structure implemented computationally * Computational approaches to the study of music perception and cognition * Automatic music transcription * Computational music analysis * Digital representation of musical information * Development and use of digital corpora for musicological research * Health-related applications of music computing * Computational ethnomusicology * Teaching computational and digital musicology * User experience design for musicological tools ICCCM stands out for its focus on fundamental research rather than application-driven perspectives, distinguishing it from conferences like ISMIR, MCM, or ICMPC. Its small size and informal atmosphere make it especially welcoming to early-stage researchers, who have been a significant presence at past editions. Submission Guidelines We invite submission of abstracts (max. 300 words + max 1 page of references) for oral presentations and posters, outlining research questions, methods, and contributions. * Submission Deadline: June 30th, 2025 * Notification: July 15th, 2025 * Submission: Send your abstract as a PDF file to dave at create.aau.dk Each abstract should include the following information: * Title * Name, affiliation and email address of each author * Text of abstract (300 words maximum) * Reference list (max 1 page) * Authors may optionally also include up to one figure * A statement as to whether you prefer to present orally or as a poster There will be a light-weight review procedure regarding match to the aim of the conference, originality and quality of the proposal, and variety in content. Since space is restricted, we will also take order of submission into account. Accepted abstracts will be published online, with authors invited to submit extended papers for a special issue of the Journal of New Music Research. Travel stipends Authors of accepted papers whose travel and accommodation will not be funded by their employer or a grant and have no other source of funding to cover the expenses they incur as a result of attending the conference, are eligible to apply for a grant to help with covering these costs. If you would like to be considered for one of these grants, please include a note to this effect in your submission email. Acknowledgements The conference is generously supported by the Carlsberg Foundation, grant CF24-2307. Contact Stay tuned to the conference website (https://digital.musicology.org/icccm2025/ ) for updates. For any queries regarding the conference, contact the conference chair, David Meredith >. We look forward to your contributions to ICCCM2025! The ICCCM2025 Programme Committee -- --------------------------------------------------------------------- dr. Frans Wiering Retired Associate Professor Music Information Computing --------------------------------------------------------------------- Utrecht University Department of Information and Computing Sciences (ICS) visit: Minnaert Building 4.15, Leuvenlaan 4, NL-3584CE Utrecht office hours: Monday and Thursday, 10:00-15:30 post: Princetonplein 5, NL-3584CC Utrecht email:F.Wiering at uu.nl tel: +31-30-2536335 www:http://www.uu.nl/staff/FWiering/0 --------------------------------------------------------------------- -------------- next part -------------- An HTML attachment was scrubbed... URL: From atge at kb.dk Tue May 20 16:51:39 2025 From: atge at kb.dk (Axel Teich Geertinger) Date: Tue, 20 May 2025 14:51:39 +0000 Subject: [MEI-L] Question for users of the element In-Reply-To: References: Message-ID: <6cb6b1aeb77244199807502ea0fba3b7@kb.dk> Hi David and Kevin A bit delayed, but hopefully not too late: Thanks for bringing this up. The guidelines are indeed somewhat vague about the use of , but perhaps they need to be. I am aware that can serve many purposes, so I just want to outline how I and projects I have been involved in have been using it. Generally, we have used as part of the editorial markup: Either inside other editorial markup such as or to qualify the reasons for editorial intervention, or on its own inside encoded entities as an editorial/critical comment. In a context where editorial markup is visualised as text critical notes in pop-up boxes in the score, we have sometimes used the @type attribute to indicate whether the annotation should, for instance, _replace_ the commentary's general lemma/reading structure entirely, or (default) should be _added_ after the displayed content of or (depending on where the annotation is), or replace either or . I regard that as a very project-specific approach, though. @motivation may be useful, but I would be unsure which one to use in the above cases – we are annotating as part of the editing process (@motivation="editing"?) to comment ("commenting"?) on or explain or qualify (?) the intervention. And perhaps we could use @func for that instead? I tend to think that intended use and purpose of the annotation is more useful for a reader/software than the encoder's motivation for adding it. The value @func="score" seems a little counter-intuitive to me. How is score a function? Does it mean that the annotation is intended to be shown only in the context of the score (as opposed to the parts)? If so, perhaps a new attribute @context would be easier to understand? Just some quick thoughts :-) Best, Axel -----Original Message----- From: mei-l On Behalf Of David Lewis Sent: Tuesday, May 6, 2025 7:07 PM To: mei-l at lists.uni-paderborn.de Subject: [MEI-L] Question for users of the element Hi all, As some of you may have noticed, Verovio has recently gained the ability to display annotations that refer to parts of a score (i.e. not the header information or commentary about the encoding itself). In the process of adding this, we had a small discussion about how to characterise different uses of in MEI so that software can interpret them clearly. Since the guidelines are at times a little unspecific (or confusing), we’re interested in hearing from people who are _already using_ in their encodings. As a preliminary step, we have used a particular @type value on () to specify the sorts of annotation that we actually want to display, but this is a temporary measure. @type is not intended to carry important semantics in this way, but we can use it without changing the current schema. Before we propose a longer term solution, we’d like to check for unintended consequences. If you've used before or are using it now, we'd like to hear how the following options would affect your work or your encodings. 1. Introduce a @motivation attribute (informed by web annotation and TEI) with a fixed set of values – assessing, bookmarking, classifying, commenting, describing, editing, highlighting, identifying, linking, moderating, questioning, replying, tagging. New motivations would have to be created as part of external authorities linked using motivation.auth / motivation.url It has been suggested that we would distinguish annotations to display from others by the presence or absence of @motivation, or by the specific values of @motivation 2. Use @func or some other relatively lightweight approach to distinguish (e.g. 3. Use a new, additional element for the things we need to distinguish (TEI uses and , which MEI can't for obvious reasons) These options are not exclusive – we can have @motivation, @func _and_ different elements. Any one of them has the potential to help clarify things, but it could also complicate existing uses or make unclear what is currently clear. We look forward to benefiting from the combined experience of the community. Thanks for your input David Lewis & Kevin Page AHRC Annote Project _______________________________________________ mei-l mailing list mei-l at lists.uni-paderborn.de https://lists.uni-paderborn.de/mailman/listinfo/mei-l From ichiro.fujinaga at mcgill.ca Wed May 28 16:46:10 2025 From: ichiro.fujinaga at mcgill.ca (Ichiro Fujinaga) Date: Wed, 28 May 2025 14:46:10 +0000 Subject: [MEI-L] LinkedMusic Workshops In-Reply-To: <7762E2B7-98C8-46C4-81B1-BFD6AD3CC484@mcgill.ca> References: <7762E2B7-98C8-46C4-81B1-BFD6AD3CC484@mcgill.ca> Message-ID: <94E1D49E-7BCB-4FDE-985D-C2F346FA3105@mcgill.ca> Dear all, The LinkedMusic Workshop next Monday (2025-06-02, 14:00–15:30) will be held in B104 of the University Building (which is the main building) at City St George's, University of London at Northumberland Square, London. Best, Ichiro > On May 8, 2025, at 9:52 AM, Ichiro Fujinaga wrote: > > Greetings, > > We are pleased to announce two LinkedMusic Workshops taking place this year: > > 2025-06-02 Monday 14:00–15:30 > as part of the Music Encoding Conference at City St George's, University of London at Northumberland Square, EC1V 0HB, London > > 2025-07-06 Sunday 15:30–16:30 > as part of the IAML Congress at "Kleines Studio,” Mozarteum University, Mirabellplatz 1, Salzburg > > Both workshops are open to all and free to attend. > > For more details, please visit https://linkedmusic.ca/ > > Best regards, > > Ichiro > _______________________________________________ > mei-l mailing list > mei-l at lists.uni-paderborn.de > https://lists.uni-paderborn.de/mailman/listinfo/mei-l From axel.berndt at uni-paderborn.de Mon Jun 23 10:39:44 2025 From: axel.berndt at uni-paderborn.de (Axel Berndt) Date: Mon, 23 Jun 2025 10:39:44 +0200 Subject: [MEI-L] Job opportunity, Music Informatics, Paderborn University Message-ID: <4756fa43-b399-4501-866d-ebb45458de2f@uni-paderborn.de> Dear colleagues, for our new 3 years project "Digitale Interpretationsedition: Prototypischer Forschungsprozess und Modelledition" (engl.: Conceptualizing a Digital Performance Edition) we offer a 100% position for a research assistant (f/m/d) in the field of Music Informatics. Further details can be found in English: https://www.uni-paderborn.de/fileadmin/zv/4-4/stellenangebote/Kennziffer6987_Englisch.pdf and in German: https://www.uni-paderborn.de/fileadmin/zv/4-4/stellenangebote/Kennziffer6987.pdf Also, feel free to contact me directly (axel.berndt at uni-paderborn.de). Your applications are welcome. Please send them to me by 21st of July 2025. Best wishes, Axel Berndt -- Professor for the Modeling of Linked Virtual Data Spaces (in Music and Media) Musikwissenschaftliches Seminar Detmold/Paderborn Paderborn University KreativInstitut.OWL Bielefelder Str. 66a 32756 Detmold, Germany From annplaksin at gmx.net Thu Jul 10 13:17:46 2025 From: annplaksin at gmx.net (annplaksin at gmx.net) Date: Thu, 10 Jul 2025 13:17:46 +0200 Subject: [MEI-L] MEC 2025 Book of Abstracts is available Message-ID: <010101dbf18c$4491e890$cdb5b9b0$@gmx.net> Dear list, We are pleased to announce that the Book of Abstracts of the Music Encoding Conference 2025 has now been published. You can access the Book of Abstracts as full volume as part of the Music Encoding Initiative collection at Knowledge Commons via https://doi.org/10.17613/20s0d-gq678 Each contribution is also available with a DOI via the Music Encoding Initiative collection, available at: https://works.hcommons.org/collections/music-encoding-initiative The Music Encoding Initiative Collection at Knowledge Commons not only contains the proceedings of past MECs but also valuable resources, such as teaching materials. We kindly encourage you to visit the Book of Abstracts as well as the MEI Collection and disseminate the link widely within your professional networks, institutions, and on social media to help maximise the impact of our community. Kind regards also on behalf of David Lewis and Sophie Stremel, Anna Plaksin Programme Committee Chair Music Encoding Conference 2025 From raffaeleviglianti at gmail.com Thu Jul 24 18:36:23 2025 From: raffaeleviglianti at gmail.com (Raffaele Viglianti) Date: Thu, 24 Jul 2025 12:36:23 -0400 Subject: [MEI-L] =?utf-8?q?TEI_Conference_in_Krak=C3=B3w_=2816-20_Sept=2E?= =?utf-8?q?=29_-_Register_Now!?= Message-ID: (with apologies for cross-posting) Dear colleagues — please join us for the annual Text Encoding Initiative conference in Kraków, Poland, 16-20 September! The theme of this year’s TEI conference is “New Territories” and celebrates the twenty-fifth anniversary of the conference. In addition to a rich program of presentations and workshops (which can be viewed here ), we are thrilled to have three great keynotes joining us: Jadwiga Kita-Huber (Jagiellonian University), Sebastian Winkler (European Research Council), and Julia Flanders (Northeastern University). Registration is open through 15 August. The registration form can be accessed here . We look forward to seeing you in Kraków!! -- Raffaele Viglianti, PhD Senior Research Software Developer | Maryland Institute for Technology in the Humanities Affiliate Faculty | School of Music, University of Maryland Technical Editor and Micro-Editions Editor | *Scholarly Editing * -------------- next part -------------- An HTML attachment was scrubbed... URL: From elsadeluca at fcsh.unl.pt Mon Sep 8 15:56:32 2025 From: elsadeluca at fcsh.unl.pt (Elsa De Luca) Date: Mon, 8 Sep 2025 15:56:32 +0200 Subject: [MEI-L] =?utf-8?q?DLfM_2025_=E2=80=93_Early-Bird_Registration_Rate?= =?utf-8?q?_Extended?= Message-ID: We are pleased to announce that the early-bird registration rate for the *Digital Libraries for Musicology (DLfM) 2025* conference will remain in effect, thanks to the generous support of Sogang University. DLfM is a satellite event of the 26th International Society for Music Information Retrieval Conference (ISMIR 2025) and is the premier venue for scholars working with digital libraries in the fields of music and musicology. Join us in Seoul, South Korea, on 26 September 2025 for a day of stimulating discussions at the intersection of musicology and digital technology. Conference programme: https://dlfm.web.ox.ac.uk/2025-programme Registration information: https://dlfm.web.ox.ac.uk/2025-registration — *DLfM 2025 Organizing Committee* -------------- next part -------------- An HTML attachment was scrubbed... URL: From Anna.Kijas at tufts.edu Mon Sep 15 13:30:00 2025 From: Anna.Kijas at tufts.edu (Kijas, Anna E) Date: Mon, 15 Sep 2025 11:30:00 +0000 Subject: [MEI-L] Hold the Date: MEI Community Forum on Dec. 11, 2025 Message-ID: Dear MEI Colleagues, Please hold the date for an MEI Community Forum on December 11, 2025, at 10 AM (EST) / 4 PM (CET) Register in advance for this meeting: https://tufts.zoom.us/meeting/register/LGASCGzGSiyWK01kFvKZkQ After registering, you will receive a confirmation email containing information about joining the meeting. We look forward to seeing you at the meeting! Best, Anna Anna E. Kijas Assistant Director, Digital Scholarship & Lilly Music Library Tisch Library | Tufts University Pronouns: she, her, hers Get help with Digital Scholarship at Tisch Library Book an appointment | (617) 627-2846 Co-founder of Saving Ukrainian Cultural Heritage Online (SUCHO) Administrative Chair, Music Encoding Initiative -------------- next part -------------- An HTML attachment was scrubbed... URL: From roewenstrunk at uni-paderborn.de Thu Sep 18 10:47:14 2025 From: roewenstrunk at uni-paderborn.de (=?utf-8?B?RGFuaWVsIFLDtndlbnN0cnVuaw==?=) Date: Thu, 18 Sep 2025 08:47:14 +0000 Subject: [MEI-L] [JOBS] E13, 100%, 24 months Research Software Developer, University of Paderborn Message-ID: Dear colleagues, The project “PRIMUS – Presentation and Legally Compliant Implementation of Digital Music Editions” at the Center for Music, Edition, and Media (ZenMEM) in cooperation with the Center for Information and Media Technology Services (ZIM) at the University of Paderborn is offering a TV-L 13, 100% position for 24 months. The position involves the further development of the Edirom Online software, which is to be expanded to include functionalities that take into account legal aspects of research content (mainly in XML). XQuery will be used for the most part. Job posting in German: https://www.uni-paderborn.de/fileadmin/zv/4-4/stellenangebote/Kennziffer7069.pdf Job posting in English: https://www.uni-paderborn.de/fileadmin/zv/4-4/stellenangebote/Kennziffer7069_Englisch.pdf Please feel free to share this message. Best regards, Daniel -- Dipl. Wirt. Inf. Daniel Röwenstrunk https://orcid.org/0000-0001-6271-2095 NFDI4Culture Co-Spokesperson „Research Tools and Data Services“ https://nfdi4culture.de Universität Paderborn Zentrum für Informations- und Medientechnische Dienste der Universität Paderborn (ZIM) Beauftragter für Forschungsdatenmanagement https://www.uni-paderborn.de/person/439 Raum TP6.3.106 Technologiepark 6 33100 Paderborn +49 5251 606745 roewenstrunk at uni-paderborn.de -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: smime.p7s Type: application/pkcs7-signature Size: 4703 bytes Desc: not available URL: From coordination-office at nfdi4culture.de Thu Sep 11 11:59:41 2025 From: coordination-office at nfdi4culture.de (NFDI4Culture Coordination Office) Date: Thu, 11 Sep 2025 09:59:41 +0000 Subject: [MEI-L] Einladung zum 5. Culture Community Plenary Message-ID: Liebe NFDI4Culture Community, Forschungsdatenmanegement in der Kultur comes alive zum zum Culture Community Plenary vom 24. - 26. September 2025 an der Akademie der Wissenschaften und der Literatur in Mainz! Es werden geboten: - ein Workshop-Programm - die GLAMouröse Verleihung des DigAMus Awards - die Panel-Diskussion "Resilienz von Dateninfrastrukturen und Datendiplomatie" und - das ultimative Networking-Event, der Markt der Möglichkeiten. Als größte jährliche Zusammenkunft von NFDI4Culture ist das Culture Community Plenary ein zentraler Ort für den Austausch zwischen dem Konsortium für Forschungsdaten des immateriellen ud materiellen Kulturerbes und seiner Community, aber auch für die Akteur:innen in der Community untereinander. Es dient der persönlichen Begegnung, der Berichterstattung über die bisher erreichten Ziele und dem Ausblick auf die weiteren Entwicklungen. Außerdem bietet das Plenary den Partizipierenden die Möglichkeit der Beteiligung und Mitgestaltung von NFDI4Culture, insbesondere zum Auftakt der zweiten, konsolidierenden Förderrunde 2025-2028 auf dem Weg zu einem verstetigten Infrastrukturvorhaben für Deutschland im Bereich der Geisteswissenschaften. Gemeinsam wollen wir unsere Vision „Gemeinsame Daten – Gemeinsame Praxis – Gemeinsames Wissen“ verwirklichen! Das Programm ist bunt und vielfältig, Details dazu werden auf unserem Portal fortlaufend aktualisiert. Für viele Programmpunkte bieten wir auch eine Möglichkeit zur Online-Teilnahme an. Davon ausgeschlossen ist explizit die Party am Donnerstag Abend! Die Teilnahme ist wie immer kostenfrei, und sowohl vor Ort wie auch in weiten Teilen digital möglich. Für die Anmeldung steht unser Konferenzsystem bereit. Mittwoch, 24.09.2025 * Hands-On Workshop Wednesday: Neues lernen und die eigenen praktischen Fähigkeiten erweitern in spannenden Workshops zu Python, Knowledge Graphs und Ökologisch nachhaltiges Forschungsdatenmanagement! * Das NFDI4Culture-Helpdesk-Team möchte Sie und Ihre Anliegen rund ums Thema Forschungsdaten besser kennenlernen! Wir laden Sie daher ein zum Helpdesk-Speed-Dating: In Zeitslots von 20 Minuten führen wir mit Ihnen persönlich ein kurzes, informatives Erstgespräch durch, das bei bestehendem Interesse in eine weiterführende Beratung münden kann. (KEINE Online-Beratung) * Abendlich-GLAMouröse Verleihung des DigAmus-Awards für herausragende digitale Projekte im Kulturbereich (Online-Teilnahme möglich) Donnerstag, 25.09.2025 * Berichte und wissenschaftlich Beiträge zur Arbeit des Konsortiums – Rückblick sowie Ausblick auf die zweite Förderphase (Online-Teilnahme möglich) * musikalisches Rahmenprogramm * Panel "Resilienz von Dateninfrastrukturen und Datendiplomatie" u.a. mit NFDI Kuratoriums-Mitglied Prof. Dr. Dörte Schmidt und NFDI-Direktor Prof. Dr. York Sure Vetter und der Präsidentin der Akademie der Wissenschaften und der Literatur Mainz, Prof. Dr. Andrea Rapp (Online-Teilnahme möglich) * Party!! – mit DJ Fran(ziska Fritzsche) von BASE4NFDI Freitag, 26.09.2025 * Markt der Möglichkeiten: * (physischer) Begegnungsraum der NFDI4Culture Community * Posterpräsentationen von Projekten, Institutionen und FDM-Diensten entdecken! * Speakers-Corner: Mit einer kurzen Marktrede auf den eigenen Marktstand, eine eigene Veranstaltung oder eine gute Idee hinweisen! Wer zu den frühen Anmeldungen zum Culture Community Plenary gehört, wird mit einem zusätzlichen exklusiven Programmpunkt im Kammermusiksaal der Akademie der Wissenschaften und der Literatur belohnt! Wir freuen uns schon enorm auf ein Wiedersehen zum Culture Community Plenary in Mainz! Sarah Pittroff und Zahia Schlott für das gesamte Konsortium --- NFDI4Culture Coordination Office Akademie der Wissenschaften und der Literatur | Mainz Geschwister-Scholl-Str. 2 55131 Mainz NFDI4Culture – Konsortium für Forschungsdaten zu materiellen und immateriellen Kulturgütern E-Mail: coordination-office at nfdi4culture.de Web: https://nfdi4culture.de/ Mastodon: https://nfdi.social/@nfdi4culture -------------- next part -------------- An HTML attachment was scrubbed... URL: From Anna.Kijas at tufts.edu Wed Oct 1 18:30:54 2025 From: Anna.Kijas at tufts.edu (Kijas, Anna E) Date: Wed, 1 Oct 2025 16:30:54 +0000 Subject: [MEI-L] Reminder - MEI is on BlueSky and Mastodon! Message-ID: Dear MEI Colleagues, This is a reminder that we have social media accounts on Bluesky and Mastodon: * https://bsky.app/profile/music-encoding.bsky.social * https://mastodon.social/@MusicEncoding We invite you to share content with us, such as general announcements, call for papers, elections, and updates relevant to the MEI community. Please fill out this form: https://forms.gle/zK4mC7bktdjNwmez9. If you have any questions or feedback, please reach out to Maristella. You can also reach out to me or a member of the MEI Board. Best, Anna Anna E. Kijas Assistant Director, Digital Scholarship & Lilly Music Library Tisch Library | Tufts University Pronouns: she, her, hers Get help with Digital Scholarship at Tisch Library Book an appointment | (617) 627-2846 Co-founder of Saving Ukrainian Cultural Heritage Online (SUCHO) Administrative Chair, Music Encoding Initiative -------------- next part -------------- An HTML attachment was scrubbed... URL: From mark.saccomano at uni-paderborn.de Thu Oct 2 18:02:02 2025 From: mark.saccomano at uni-paderborn.de (Mark Saccomano) Date: Thu, 2 Oct 2025 18:02:02 +0200 Subject: [MEI-L] Customizations survey Message-ID: <4AE3C7DB-1BFF-4ED2-A72D-4EC8DFF66146@uni-paderborn.de> Hi Everybody! We are interested in learning what other projects are doing with MEI customizations – to allow projects to better share information and to enhance the abilities of MEI to meet the needs of its users. To this end, we have prepared a small survey to find out what type of custom development work is going on and how official customizations are used in the workflow. We would like to get your feedback. And if you are willing to share your customizations, we plan on putting together a list of project-specific customizations that may prove useful to other projects in the future. If you have a moment, we would appreciate if you could respond to our short Google survey here: https://docs.google.com/forms/d/e/1FAIpQLSce-V4MhT3XG0LTFbf_iRukNSQHmgG_G9ICcehv23XjJArzJA/viewform?usp=dialog Thanks for your time! Mark MEI Analysis Interest Group Mark Saccomano, Ph.D. Research Associate Musikwissenschaftliches Seminar Hochschule für Musik Detmold / Universität Paderborn Hornsche Str. 39 | 32756 Detmold mark.saccomano at uni-paderborn.de Mark Saccomano, Ph.D. Research Associate Musikwissenschaftliches Seminar Hochschule für Musik Detmold / Universität Paderborn Hornsche Str. 39 | 32756 Detmold mark.saccomano at uni-paderborn.de -------------- next part -------------- An HTML attachment was scrubbed... URL: From Anna.Kijas at tufts.edu Fri Oct 3 15:54:32 2025 From: Anna.Kijas at tufts.edu (Kijas, Anna E) Date: Fri, 3 Oct 2025 13:54:32 +0000 Subject: [MEI-L] CfP: #DLFteach Toolkit, Volume 5: Digital Pedagogy in Music & Sound Studies Message-ID: Dear Colleagues, Jessica Grimmer and I invite you to submit proposals to this CfP or share it with colleagues who may be interested in submitting a proposal for adaptable teaching materials that use digital methods in music and sound contexts to be published as part of the #DLFteach Toolkit. Deadline for proposals is December 5, 2025. The full CfP is available at https://annakijas.com/cfp-dlfteach-toolkit-v5/. Call for Proposals: DLF Digital Library Pedagogy Toolkit, Volume 5: Digital Pedagogy in Music & Sound Studies The DLF Digital Library Pedagogy Working Group invites proposals for practical, adaptable teaching materials that use digital methods in music and sound contexts which will be published as part of the #DLFteach Toolkit. We welcome contributions from faculty, instructors, librarians, archivists, technologists, and community educators across musicology, ethnomusicology, theory, composition, performance, sound art, podcasting, and related areas. While digital pedagogy has gained traction across disciplines like literature, history, and art history, there remain relatively few practical resources tailored to music and sound. Building on prior Toolkit volumes, this collection seeks to fill that disciplinary gap by gathering concrete, classroom-ready approaches for teaching with digital methods in music and sound studies, particularly for those new to digital humanities and digital pedagogy. It will offer accessible strategies and resources for introducing digital methods and tools to students, focusing on developing key competencies and literacies that are grounded in best practices and research. Additionally, it will provide models for activities and assignments that build the skills necessary for students to engage in digital humanities research and scholarship. Please reach out to us if you have any questions: * Jessica H. Grimmer (University of Maryland), jgrimmer at umd.edu * Anna E. Kijas (Tufts University), anna.kijas at tufts.edu Share widely! Best, Anna Anna E. Kijas Assistant Director, Digital Scholarship & Lilly Music Library Tisch Library | Tufts University Pronouns: she, her, hers Get help with Digital Scholarship at Tisch Library Book an appointment | (617) 627-2846 Co-founder of Saving Ukrainian Cultural Heritage Online (SUCHO) Administrative Chair, Music Encoding Initiative -------------- next part -------------- An HTML attachment was scrubbed... URL: From raffaeleviglianti at gmail.com Fri Oct 10 17:56:54 2025 From: raffaeleviglianti at gmail.com (Raffaele Viglianti) Date: Fri, 10 Oct 2025 11:56:54 -0400 Subject: [MEI-L] JTEI Issue 18: more articles published Message-ID: Dear MEI Community, We are pleased to announce the publication of five more articles in Issue 18 (https://doi.org/10.4000/12na7) of the Journal of the Text Encoding Initiative (JTEI). This issue follows a rolling issue procedure, whereby new articles will be added continuously. The articles have been selected, greatly extended, and peer-reviewed from “Encoding Cultures”, the 2023 joint MEC and TEI Conference in Paderborn, Germany. * José Calvo Tello, Mathias Göbel, Ubbo Veentjer, Stefan E. Funk, Nanette Rißler-Pipka and Keli Du. “FAIR Derived Data in TEI and Its Publication in the TextGrid Repository” https://doi.org/10.4000/13llz * Severin Kolb and Matthias Schrinner, “Distributed Data Storage Instead of a Primarily Local Solution?” https://doi.org/10.4000/13tek * Mark Saccomano, Lisa Rosendahl, David Lewis, Andrew Hankinson, Johannes Kepper, Kevin Page and Elisabete Shibata. “Selective Encoding: Reducing the Burden of Transcription for Digital Musicologists” https://doi.org/10.4000/13x2d * Oleksii Sapov-Erlinger. “Creating Parts from MEI-Encoded Musical Scores: Encoding Guidelines and a Part-Extraction Tool” https://doi.org/10.4000/14m7n * Andreas Kuczera. “Applied Text as Graph (ATAG) in an Algorithmic Edition” https://doi.org/10.4000/14vyl We would like to express our gratitude to the authors, the peer reviewers, and JTEI’s editorial team—Joel Kalvesmaki, Pietro Maria Liuzzo, Ana Salgado, Ron van den Branden, and Tanja Wissik—who provided the dedication, passion, and expertise that are making this publication possible. More articles are under development and will be published in the coming months. On behalf of the guest editors, Raffaele Viglianti, Johannes Kepper, and Peter Stadler -- Raffaele Viglianti, PhD Senior Research Software Developer | Maryland Institute for Technology in the Humanities Affiliate Faculty | School of Music, University of Maryland Technical Editor and Micro-Editions Editor | *Scholarly Editing * -------------- next part -------------- An HTML attachment was scrubbed... URL: From david.lewis at oerc.ox.ac.uk Fri Sep 26 11:07:26 2025 From: david.lewis at oerc.ox.ac.uk (David Lewis) Date: Fri, 26 Sep 2025 09:07:26 -0000 Subject: [MEI-L] {SPAM?} Call for proposals for Music Encoding Conference 2026, Tokyo Message-ID: <3C0993DD-0B5E-4CA5-95D2-F0750053A255@oerc.ox.ac.uk> Call for proposals https://music-encoding.org/conference/2026 We are pleased to announce our call for papers, posters, panels, and workshops for the Music Encoding Conference 2026. The Music Encoding Conference brings together members from music encoding, analysis, performance, and research communities, including musicologists, theorists, librarians, technologists, music scholars, teachers, and students, providing an opportunity for all participants to learn from and engage with each other. This year, we will host lectures, panels, posters, and workshops and tutorials, but also a showcase where developers can demonstrate software tools and platforms. The conference will be held 26–29 May 2026 at the Tokyo University of Science on behalf of the Music Encoding Initiative community. Important dates and information Conference date: 26–29 May, 2026 Location: Morito Memorial Hall, Tokyo University of Science, Tokyo, Japan Deadline for proposals: Friday 28 November 2025 (Anywhere on Earth) Notification of acceptance: Monday 26 January 2026 Registration deadline for authors: 2 April 2026 Last changes to abstracts for publication: 24 April 2026 For further questions, please e-mail conference2026 at music-encoding.org Background The Music Encoding Conference provides a forum where researchers and practitioners from varied fields can meet and share new research built on digital music editions and, especially, research into music encoding itself. The Conference celebrates a multidisciplinary program, combining the latest advances from established music encodings, novel technical proposals and encoding extensions, and the presentation and evaluation of new practical applications of music encoding (e.g. in academic study, libraries, editions, pedagogy). When using and manipulating music in the digital domain, the properties and behaviours of its encoding are of fundamental importance. This applies equally for musicological study, music theory, production of digital editions, composition, performance, teaching and learning, cataloguing, symbolic music information retrieval and recommendation, or more general electronic presentation of musical material and associated narratives. It also applies for a wide range of musics, including those that are not conventionally notated at all. The study of music encoding and its applications is therefore a critical foundation for the use of music information by scholars, librarians, publishers, and the wider music industry. We welcome contributions from all those working on music encoding, but also those whose research builds on digital music resources or corpora. Newcomers are encouraged to submit to the main program, demonstrating with articulations of the potential for music encoding in their work, and highlighting strengths and weaknesses of existing approaches within this context. We always seek to broaden the scope of musical repertories considered, and to provide a welcoming, inclusive community for all who are interested in this work. The Music Encoding Conference is supported and organised by the Music Encoding Initiative, which will hold its annual community meeting on Friday, 6 June. The main academic conference is preceded by pre-conference workshops and tutorials, which provide an opportunity to engage with the tools and good practices developed within the community, and this will be further reinforced by a showcase during the conference, where these tools can also be demonstrated. Following a formal program, unconference sessions will be held on 29th May 2025, designed to foster collaboration in the community through the meeting of Interest Groups, and open participation in discussions on hot topics that emerge during the conference. Spaces for these meetings have been generously provided by the hosting institution. As part of the conference, we would like to extend an invitation to attendees who may wish to organize additional meetings (e.g. project meetings) or other collaborative sessions in conjunction with the event. Availability of space for meetings during or immediately before or after the conference can be checked upon request. Please get in touch with conference organizers if you need to reserve these spaces. Topics The conference welcomes contributions from all those who are developing or using music encodings in their work and research. Topics around music encoding include, but are not limited to: * concepts, models and structures for music representation and encoding * music encoding standardisation and interoperability * methodologies for encoding, music editing, description and analysis * computational analysis of encoded music * rendering symbolic music data in audio and graphical forms * relationships between multimodal music forms (e.g. symbolic music data, encoded text, facsimile images, audio and video) * capture, interchange, and re-purposing of musical data and metadata * ontologies, authority files, and linked data in music encoding and description * (symbolic) music information retrieval using music encoding * evaluation of music encodings * music encoding for non-European and/or un-notated musics Topics concerned with use of music encoding might situate them in: * music theory and analysis * digital musicology and, more broadly, digital humanities * digital editions * music digital libraries * bibliographies and bibliographic studies * catalogues and collection management * composition * performance * teaching and learning * search and browsing * multimedia music presentation, exploration, and exhibition * machine learning approaches. Submissions The Program Committee for the Music Encoding Conference 2025 will accept proposals for papers, posters, panels, showcase demonstrations and workshops in the form of extended abstracts. All submissions will be double-blind peer-reviewed by multiple members of the committee before a decision is made on acceptance. After the review process, authors of accepted submissions will have the opportunity to make non-substantive revisions before the conference, to address minor corrections or clarifications suggested during the review process. Please also refer to the statement on our website on the use of generative AI in submissions. Accepted abstracts will be published as part of the conference program and a Book of Abstracts after the conference. Authors are invited to upload their anonymized submissions for review to our Conftool website: https://www.conftool.net/mec2026/ The deadline for all submissions is 28 November 2025 (see IMPORTANT DATES above). When you upload into ConfTool, you will be asked for Title, Author information and the PDF of your submission. In addition, you will need to supply a short summary abstract and up to five keywords – these will be used for review assignment, but may also appear on the conference programme and website. Since review will be anonymous, please ensure that all identifying information is removed from your PDF before submission. Please use our template (at https://tinyurl.com/MEC2026-Template) for your PDF proposals. Word counts apply to the text of the proposal, excluding titles, keywords and references. Long papers: 1000-1500 words. Long papers are expected to present overviews or specific aspects of ongoing or completed projects, detailed case-studies or elaborated perspectives on best practices in the field, or provide in-depth reports on topics relevant to the conference. Speakers will be given 30 minutes: 20 minutes for a presentation, and 10 minutes for discussion. Short papers: 500-1000 words. Short papers are suitable for introducing tools, new ideas, and experimental topics. Speakers will be given 15 minutes: 10 minutes for presentation, 5 minutes for discussion. Panels: 1500-2000 words. Panels are suited to coordinated approaches or discussions relating to a single theme, or round-table discussions. Particularly welcome are those with interactive elements, such as Q&A sessions or community consultation. Submissions should describe the topic and nature of the panel, along with its format, including titles and short abstracts for any presentations that will form part of the session. It should be clear from the text how any presentations are connected, and the way these will be integrated into the discussion. Themed sessions – independent papers relating to a single topic or project – will not be considered – instead these should be submitted as separate papers. Panel sessions will be given 90 minutes, which can be used flexibly. Posters: 500-1000 words. Posters are expected to report on early-stage work, introduce new work, projects, or software, or present experimental ideas for community feedback. Poster presenters will have the chance to engage with interested parties more about their project during the poster exhibition, where the audience can browse freely. Poster Size: maximum DIN A0 (841 x 1189 mm or 33.1 x 46.8 inches), portrait format Showcase demonstrations: 500-1000 words. We will host a showcase session, giving the opportunity to show tools and resources in an interactive and engaging way. Presenters will be given small tables to stand demos on, and poster boards for any written information. Poster Size: maximum DIN A0 (841 x 1189 mm or 33.1 x 46.8 inches), portrait format Half- or full-day workshops: 1000-1500 words. These can be tutorials, explaining key concepts and tools, or interactive workshops, engaging participants as contributors. Proposals must also include: * A brief outline of the topic and its appeal to the community * The duration of the workshop or seminar (half day, full day) * Expected audience experience level and target and maximum size * Any special logistical and technical requirements (e.g., participant-supplied laptops, projector, flipchart) Committee Program Committee * David Lewis, Goldsmiths, University of London & University of Oxford (chair) * Richard Freedman, Haverford College * Satoru Fukayama, National Institute of Advanced Industrial Science and Technology, Tokyo * Mark Gotham, King’s College London * Olja Janjuš, Ludwig-Maximilians-Universität München * Anna E. Kijas, Tufts University * Elsa De Luca, NOVA University Lisbon * Davide Andrea Mauro, Paderborn University * Fabian C. Moss, Julius-Maximilians-Universität Würzburg * Eita Nakamura, Kyushu University * Salome Obert, Paderborn University * Kevin Page, University of Oxford * Frankie Perry, University of Oxford | British Library * Anna Plaksin, Paderborn University (chair) * Nevin Şahin, Hacettepe University Ankara State Conservatory * Martha E. Thomae, NOVA University Lisbon * Sandra Tuppen, British Library * Mirjam Visscher, Utrecht University * David M. Weigl, mdw – University of Music and Performing Arts Vienna Local organizing Committee * Eita Nakamura, Kyushu University * Satoru Fukayama, National Institute of Advanced Industrial Science and Technology, Tokyo -------------- next part -------------- An HTML attachment was scrubbed... URL: From mark.saccomano at uni-paderborn.de Tue Sep 30 10:21:04 2025 From: mark.saccomano at uni-paderborn.de (Mark Saccomano) Date: Tue, 30 Sep 2025 08:21:04 -0000 Subject: [MEI-L] Customizations survey Message-ID: Hi Everybody! We are interested in learning what other projects are doing with MEI customizations – to allow projects to better share information and to enhance the abilities of MEI to meet the needs of its users. To this end, we have prepared a small survey to find out what type of custom development work is going on and how official customizations are used in the workflow. We would like to get your feedback. And if you are willing to share your customizations, we plan on putting together a list of project-specific customizations that may prove useful to other projects in the future. If you have a moment, we would appreciate if you could respond to our short Google survey here: https://docs.google.com/forms/d/e/1FAIpQLSce-V4MhT3XG0LTFbf_iRukNSQHmgG_G9ICcehv23XjJArzJA/viewform?usp=dialog Thanks for your time! Mark MEI Analysis Interest Group Mark Saccomano, Ph.D. Research Associate Musikwissenschaftliches Seminar Hochschule für Musik Detmold / Universität Paderborn Hornsche Str. 39 | 32756 Detmold mark.saccomano at uni-paderborn.de -------------- next part -------------- An HTML attachment was scrubbed... URL: From thomaemartha at gmail.com Tue Oct 28 09:51:34 2025 From: thomaemartha at gmail.com (Martha Thomae) Date: Tue, 28 Oct 2025 09:51:34 +0100 Subject: [MEI-L] Call for Nominations for the 2025 MEI Board Elections Message-ID: Call for Nominations for the 2025 MEI Board Elections **Too long to read?** visit: https://forms.gle/zGACPz7e3Qta1t7S9 Dear MEI Community, On 31 December 2025, the terms of three MEI Board members will end. In the name of the entire MEI community, the MEI Board expresses its gratitude to Johannes Kepper, Anna Plaksin, and David M. Weigl for their service and dedication to MEI. In the 2025 MEI Board elections, the MEI community will determine three MEI Board members for the term 2026–2028. The election process will take place in accordance with the Music Encoding Initiative By-Laws.[1] To nominate candidates, please do so via this form: https://forms.gle/zGACPz7e3Qta1t7S9 The timeline of the elections will be as follows: Nomination phase (28 October – 11 November 2025 [2]) - You can submit nominations by filling in the form linked above. - Any person who today is a subscriber of the MEI-L mailing list has the right to nominate candidates. - Any individual is eligible for nomination, including those who have previously served on the MEI Board. Candidates in the election must be members of the MEI-L mailing list but may register until 26 November 2025. - Self-nominations are welcome. - Individuals will be informed of their nomination when received and asked to confirm their willingness to serve on the MEI Board. - Acceptance of a nomination requires submission of a short CV and a personal statement of interest in MEI (a maximum of 200 words each) to elections at music-encoding.org by 26 November 2025. - Candidates who have been nominated but have not confirmed their willingness by 26 November 2025 will not be included on the ballot. Election phase (28 November – 16 December 2025) - The election will take place using OpaVote and the Scottish STV Ranked Choice Voting method (https://www.opavote.com/methods/single-transferable-vote#scottish-stv). - We will inform you in separate emails about the start of the election and your individual voting tokens. Post-election phase - Election results will be announced after the elections have closed. - The term of the elected candidates starts on 1 January 2026. - The first meeting of the new MEI Board will be held in January, 2026 (precise date tbc). The election of Board members is an opportunity for each of you to have a voice in determining the future of MEI. Thank you for your support, Martha E. Thomae and Laurent Pugin MEI election administrators 2025 by appointment of the MEI Board [1] The By-laws of the Music Encoding Initiative are available online at: http://music-encoding.org/community/mei-by-laws.html [2] All deadlines are 11:59 pm (AoE) -------------- next part -------------- An HTML attachment was scrubbed... URL: From thomaemartha at gmail.com Mon Nov 10 11:40:04 2025 From: thomaemartha at gmail.com (Martha Thomae) Date: Mon, 10 Nov 2025 11:40:04 +0100 Subject: [MEI-L] Reminder: Call for Nominations 2025 MEI Board Elections (Closing Soon) References: Message-ID: <803AC18B-7D13-40B4-84A5-4968E8949F3B@gmail.com> Dear MEI Community, A small reminder that the nomination of candidates for the MEI Board Elections closes tomorrow (Nov. 11th). If you want to nominate a candidate for the MEI Board, please use the Google Form: https://forms.gle/zGACPz7e3Qta1t7S9 For the full call message, see the email below. Thank you for your support! Martha E. Thomae and Laurent Pugin MEI election administrators 2025 by appointment of the MEI Board > Begin forwarded message: > > From: Martha Thomae > Subject: Call for Nominations for the 2025 MEI Board Elections > Date: 28 October 2025 at 09:58:42 CET > > Call for Nominations for the 2025 MEI Board Elections > > Too long to read? visit: > https://forms.gle/zGACPz7e3Qta1t7S9 > > Dear MEI Community, > > On 31 December 2025, the terms of three MEI Board members will end. In the name of the entire MEI community, the MEI Board expresses its gratitude to Johannes Kepper, Anna Plaksin, and David M. Weigl for their service and dedication to MEI. > > In the 2025 MEI Board elections, the MEI community will determine three MEI Board members for the term 2026–2028. The election process will take place in accordance with the Music Encoding Initiative By-Laws.[1] > > To nominate candidates, please do so via this form: > https://forms.gle/zGACPz7e3Qta1t7S9 > > The timeline of the elections will be as follows: > > Nomination phase (28 October – 11 November 2025 [2]) > - You can submit nominations by filling in the form linked above. > - Any person who today is a subscriber of the MEI-L mailing list has the right to nominate candidates. > - Any individual is eligible for nomination, including those who have previously served on the MEI Board. Candidates in the election must be members of the MEI-L mailing list but may register until 26 November 2025. > - Self-nominations are welcome. > - Individuals will be informed of their nomination when received and asked to confirm their willingness to serve on the MEI Board. > - Acceptance of a nomination requires submission of a short CV and a personal statement of interest in MEI (a maximum of 200 words each) to elections at music-encoding.org by 26 November 2025. > - Candidates who have been nominated but have not confirmed their willingness by 26 November 2025 will not be included on the ballot. > > Election phase (28 November – 16 December 2025) > - The election will take place using OpaVote and the Scottish STV Ranked Choice Voting method (https://www.opavote.com/methods/single-transferable-vote#scottish-stv). > - We will inform you in separate emails about the start of the election and your individual voting tokens. > > Post-election phase > - Election results will be announced after the elections have closed. > - The term of the elected candidates starts on 1 January 2026. > - The first meeting of the new MEI Board will be held in January, 2026 (precise date tbc). > > The election of Board members is an opportunity for each of you to have a voice in determining the future of MEI. > > Thank you for your support, > > Martha E. Thomae and Laurent Pugin > MEI election administrators 2025 > by appointment of the MEI Board > > > [1] The By-laws of the Music Encoding Initiative are available online at: http://music-encoding.org/community/mei-by-laws.html > [2] All deadlines are 11:59 pm (AoE) -------------- next part -------------- An HTML attachment was scrubbed... URL: From Anna.Kijas at tufts.edu Wed Nov 5 16:39:25 2025 From: Anna.Kijas at tufts.edu (Kijas, Anna E) Date: Wed, 5 Nov 2025 15:39:25 +0000 Subject: [MEI-L] {SPAM?} Updates & Reminders for the MEI Community In-Reply-To: References: Message-ID: Dear MEI Colleagues, I hope you are all doing well. There are many things happening in the MEI community, so I’d like to highlight a few things with near term deadlines, as well as opportunities for you to share your MEI related projects, updates, events, and announcements with the community. Nominations for the 2025 MEI Board Elections (November deadline) * Nomination phase, 28 October – 11 November 2025 * Full details available at https://forms.gle/zGACPz7e3Qta1t7S9 * Questions? Contact Martha E. Thomae or Laurent Pugin, MEI election administrators 2025 MEC 2026 Call for Proposals (November deadline) * Submit your proposals for MEC 2026 in Tokyo, Japan by 28 November 2025 * Full details available at https://music-encoding.org/conference/2026/call/ * Questions? Email conference2026 at music-encoding.org MEI Community Forum (December event) * December 11, 2025, at 10 AM (EST) / 4 PM (CET) * Register in advance: https://tufts.zoom.us/meeting/register/LGASCGzGSiyWK01kFvKZkQ * Anyone can sign up to share updates about MEI project, tools, teaching resources, etc., as well as general updates from Interest Groups and Teams. (Edit access to shared slides) Reminder: MEI Customizations Survey * Respond to this short survey to help the MEI Analysis Interest Group understand what other projects are doing with MEI customizations and to allow projects to better share information and to enhance the abilities of MEI to meet the needs of its users. * Social Media Content (ongoing) * Do you have announcements, updates, news, projects, workshop and conference CfPs, etc. that would be of interest to the MEI Community? Submit the information via this form: https://forms.gle/u8fj95149x1SzcDp9 for posting on the MEI BlueSky and Mastodon accounts * And don’t forget to follow these accounts! * Questions? Contact Maristella Feustelle, MEI Social Media Coordinator MEI Projects or Tools (ongoing) * If you’d like to have your project or tool added to the MEI Projects page or the MEI Tools page, you can do so by making a pull request in the repository or reach out to info at music-encoding.org and tell us what you’d like to add and we will review your request. Feel free to reach out to me if you have any questions! Best, Anna Anna E. Kijas Assistant Director, Digital Scholarship & Lilly Music Library Tisch Library | Tufts University Pronouns: she, her, hers Get help with Digital Scholarship at Tisch Library Book an appointment | (617) 627-2846 Co-founder of Saving Ukrainian Cultural Heritage Online (SUCHO) Administrative Chair, Music Encoding Initiative -------------- next part -------------- An HTML attachment was scrubbed... URL: From david.lewis at oerc.ox.ac.uk Thu Nov 13 19:27:47 2025 From: david.lewis at oerc.ox.ac.uk (David Lewis) Date: Thu, 13 Nov 2025 18:27:47 +0000 Subject: [MEI-L] Music Encoding Conference 2026, Tokyo (deadline extended) Message-ID: <1701D855-F146-4CF1-A0DE-10E24B1D1B73@oerc.ox.ac.uk> [with apologies for cross posting, but please do forward on to your department and colleagues who might be interested] Call for proposals https://music-encoding.org/conference/2026 The deadline for submitting proposals for papers, posters, panels, and workshops for the Music Encoding Conference 2026 has been extended to Friday 5 December (AoE) The Music Encoding Conference brings together members from music encoding, analysis, performance, and research communities, including musicologists, theorists, librarians, technologists, music scholars, teachers, and students, providing an opportunity for all participants to learn from and engage with each other. This year, we will host lectures, panels, posters, and workshops and tutorials, but also a showcase where developers can demonstrate software tools and platforms. The conference will be held 26–29 May 2026 at the Tokyo University of Science on behalf of the Music Encoding Initiative community. Important dates and information Conference date: 26–29 May, 2026 Location: Morito Memorial Hall, Tokyo University of Science, Tokyo, Japan Deadline for proposals (extended): Friday 5 December 2025 (Anywhere on Earth) Notification of acceptance: Monday 26 January 2026 Registration deadline for authors: 2 April 2026 Last changes to abstracts for publication: 24 April 2026 For further questions, please e-mail conference2026 at music-encoding.org Background The Music Encoding Conference provides a forum where researchers and practitioners from varied fields can meet and share new research built on digital music editions and, especially, research into music encoding itself. The Conference celebrates a multidisciplinary program, combining the latest advances from established music encodings, novel technical proposals and encoding extensions, and the presentation and evaluation of new practical applications of music encoding (e.g. in academic study, libraries, editions, pedagogy). When using and manipulating music in the digital domain, the properties and behaviours of its encoding are of fundamental importance. This applies equally for musicological study, music theory, production of digital editions, composition, performance, teaching and learning, cataloguing, symbolic music information retrieval and recommendation, or more general electronic presentation of musical material and associated narratives. It also applies for a wide range of musics, including those that are not conventionally notated at all. The study of music encoding and its applications is therefore a critical foundation for the use of music information by scholars, librarians, publishers, and the wider music industry. We welcome contributions from all those working on music encoding, but also those whose research builds on digital music resources or corpora. Newcomers are encouraged to submit to the main program, demonstrating with articulations of the potential for music encoding in their work, and highlighting strengths and weaknesses of existing approaches within this context. We always seek to broaden the scope of musical repertories considered, and to provide a welcoming, inclusive community for all who are interested in this work. The Music Encoding Conference is supported and organised by the Music Encoding Initiative, which will hold its annual community meeting on Friday, 6 June. The main academic conference is preceded by pre-conference workshops and tutorials, which provide an opportunity to engage with the tools and good practices developed within the community, and this will be further reinforced by a showcase during the conference, where these tools can also be demonstrated. Following a formal program, unconference sessions will be held on 29th May 2026, designed to foster collaboration in the community through the meeting of Interest Groups, and open participation in discussions on hot topics that emerge during the conference. Spaces for these meetings have been generously provided by the hosting institution. As part of the conference, we would like to extend an invitation to attendees who may wish to organize additional meetings (e.g. project meetings) or other collaborative sessions in conjunction with the event. Availability of space for meetings during or immediately before or after the conference can be checked upon request. Please get in touch with conference organizers if you need to reserve these spaces. Topics The conference welcomes contributions from all those who are developing or using music encodings in their work and research. Topics around music encoding include, but are not limited to: * concepts, models and structures for music representation and encoding * music encoding standardisation and interoperability * methodologies for encoding, music editing, description and analysis * computational analysis of encoded music * rendering symbolic music data in audio and graphical forms * relationships between multimodal music forms (e.g. symbolic music data, encoded text, facsimile images, audio and video) * capture, interchange, and re-purposing of musical data and metadata * ontologies, authority files, and linked data in music encoding and description * (symbolic) music information retrieval using music encoding * evaluation of music encodings * music encoding for non-European and/or un-notated musics Topics concerned with use of music encoding might situate them in: * music theory and analysis * digital musicology and, more broadly, digital humanities * digital editions * music digital libraries * bibliographies and bibliographic studies * catalogues and collection management * composition * performance * teaching and learning * search and browsing * multimedia music presentation, exploration, and exhibition * machine learning approaches. Submissions The Program Committee for the Music Encoding Conference 2026 will accept proposals for papers, posters, panels, showcase demonstrations and workshops in the form of extended abstracts. All submissions will be double-blind peer-reviewed by multiple members of the committee before a decision is made on acceptance. After the review process, authors of accepted submissions will have the opportunity to make non-substantive revisions before the conference, to address minor corrections or clarifications suggested during the review process. Please also refer to the statement on our website on the use of generative AI in submissions. Accepted abstracts will be published as part of the conference program and a Book of Abstracts after the conference. Authors are invited to upload their anonymized submissions for review to our Conftool website: https://www.conftool.net/mec2026/ The deadline for all submissions is 28 November 2025 (see IMPORTANT DATES above). When you upload into ConfTool, you will be asked for Title, Author information and the PDF of your submission. In addition, you will need to supply a short summary abstract and up to five keywords – these will be used for review assignment, but may also appear on the conference programme and website. Since review will be anonymous, please ensure that all identifying information is removed from your PDF before submission. Please use our template (at https://tinyurl.com/MEC2026-Template) for your PDF proposals. Word counts apply to the text of the proposal, excluding titles, keywords and references. Long papers: 1000-1500 words. Long papers are expected to present overviews or specific aspects of ongoing or completed projects, detailed case-studies or elaborated perspectives on best practices in the field, or provide in-depth reports on topics relevant to the conference. Speakers will be given 30 minutes: 20 minutes for a presentation, and 10 minutes for discussion. Short papers: 500-1000 words. Short papers are suitable for introducing tools, new ideas, and experimental topics. Speakers will be given 15 minutes: 10 minutes for presentation, 5 minutes for discussion. Panels: 1500-2000 words. Panels are suited to coordinated approaches or discussions relating to a single theme, or round-table discussions. Particularly welcome are those with interactive elements, such as Q&A sessions or community consultation. Submissions should describe the topic and nature of the panel, along with its format, including titles and short abstracts for any presentations that will form part of the session. It should be clear from the text how any presentations are connected, and the way these will be integrated into the discussion. Themed sessions – independent papers relating to a single topic or project – will not be considered – instead these should be submitted as separate papers. Panel sessions will be given 90 minutes, which can be used flexibly. Posters: 500-1000 words. Posters are expected to report on early-stage work, introduce new work, projects, or software, or present experimental ideas for community feedback. Poster presenters will have the chance to engage with interested parties more about their project during the poster exhibition, where the audience can browse freely. Poster Size: maximum DIN A0 (841 x 1189 mm or 33.1 x 46.8 inches), portrait format Showcase demonstrations: 500-1000 words. We will host a showcase session, giving the opportunity to show tools and resources in an interactive and engaging way. Presenters will be given small tables to stand demos on, and poster boards for any written information. Poster Size: maximum DIN A0 (841 x 1189 mm or 33.1 x 46.8 inches), portrait format Half- or full-day workshops: 1000-1500 words. These can be tutorials, explaining key concepts and tools, or interactive workshops, engaging participants as contributors. Proposals must also include: * A brief outline of the topic and its appeal to the community * The duration of the workshop or seminar (half day, full day) * Expected audience experience level and target and maximum size * Any special logistical and technical requirements (e.g., participant-supplied laptops, projector, flipchart) Committee Program Committee * David Lewis, Goldsmiths, University of London & University of Oxford (chair) * Richard Freedman, Haverford College * Satoru Fukayama, National Institute of Advanced Industrial Science and Technology, Tokyo * Mark Gotham, King’s College London * Olja Janjuš, Ludwig-Maximilians-Universität München * Anna E. Kijas, Tufts University * Elsa De Luca, NOVA University Lisbon * Davide Andrea Mauro, Paderborn University * Fabian C. Moss, Julius-Maximilians-Universität Würzburg * Eita Nakamura, Kyushu University * Salome Obert, Paderborn University * Kevin Page, University of Oxford * Frankie Perry, University of Oxford | British Library * Anna Plaksin, Paderborn University * Nevin Şahin, Hacettepe University Ankara State Conservatory * Martha E. Thomae, NOVA University Lisbon * Sandra Tuppen, British Library * Mirjam Visscher, Utrecht University * David M. Weigl, mdw – University of Music and Performing Arts Vienna Local organizing Committee * Eita Nakamura, Kyushu University * Satoru Fukayama, National Institute of Advanced Industrial Science and Technology, Tokyo -------------- next part -------------- An HTML attachment was scrubbed... URL: From Joshua.Neumann at adwmainz.de Wed Nov 26 08:19:19 2025 From: Joshua.Neumann at adwmainz.de (Neumann, Dr. Joshua) Date: Wed, 26 Nov 2025 07:19:19 +0000 Subject: [MEI-L] Call for Papers: Digital Librariea for Musicology Message-ID: <54838ebffdc54c808020b9191c021833@adwmainz.de> Call for Papers 13th International Conference on Digital Libraries for Musicology (DLfM 2026) Thursday 02 July 2026 Thessaloniki Concert Hall, Thessaloniki, Greece A satellite event of IAML 2026 https://dlfm.web.ox.ac.uk/2026-cfp The Digital Libraries for Musicology (DLfM) conference presents a venue specifically for those working on, and with, Digital Library systems and content in the domain of music and musicology. 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 the application of music information retrieval (MIR) to musicology (see TOPICS, below). DLfM alternately partners with the IAML and ISMIR conferences to encourage new collaborations and discussions surrounding prominent issues in our shared field. This installment of DLfM follows previous successful conferences in Seoul, Stellenbosch, Milan, Prague, Montreal, The Hague, Paris, Shanghai, New York, Knoxville, and London. This year DLfM will be a satellite event of the IAML conference, and given that music libraries and archives are a regular first-contact point between researchers and materials, we particularly encourage papers and posters that use library and archives technologies and conceptualizations to broaden and enhance access to digital musicology methodologies. Scores and music documents have been digitized by libraries and archives worldwide for preservation and access, which numerous specialist technologies have been developed for use in their analysis. At this year’s conference, we aim to stimulate discussions around increasing usage of research tools within cultural heritage preservation and analysis, and resulting implications therefrom. We especially welcome papers focused on the “for Musicology” aspect of DLfM, considering how methodologies and results therein are made accessible for musicologists. Please note that DLfM’s review process for submissions to proceedings operates on full and short papers, not on abstracts. See ‘Submissions’ below for further details on format. DLfM CHALLENGE To complement the main proceedings, the DLfM Challenge welcomes short submissions introducing works-in-progress and position papers that will benefit from the broad expertise of the DLfM community. We welcome speculative work and submissions that explore particular problems, as well as those that suggest solutions, whether they emanate from practical, theoretical/philosophical, or other conceptual frameworks. Given Greece’s acclaimed fundamentality to Western culture and modes of thinking, this year’s challenge track draws inspiration from the Socratic method of questioning as basis for research, preservation, and teaching in the interdisciplinary contexts represented by the DLfM and IAML communities. We thus seek challenge track proposals engaging a variety of questions—both with and about digital libraries’ content, infrastructure, tools, and engagement. IMPORTANT DATES All deadlines are at 23:59 Anywhere on Earth. There will be no extensions to submission deadlines. * Submissions open via CMT: December 2025 * Full paper and short paper submission deadline: 23 January 2026 * Notification of full and short paper acceptance: 09 March 2026 * Camera-ready submission deadline for full and short papers*: 09 April 2026 * DLfM Challenge submission deadline: 15 April 2026 * Poster submission deadline: 15 April 2026 * Conference registration deadline: 25 June 2026 * Conference: 02 July 2026, Thessaloniki, Greece * At least one author of accepted submissions must be registered for the conference before the camera-ready submission deadline to be included in the conference programme. Registration details will be announced on the conference website in December 2025. CONFERENCE OBJECTIVES * to act as a forum for reporting, presenting, evaluating and disseminating work combining technology with musicology through Digital Library systems; * to critically evaluate the operation of Music Digital Libraries and the applications and findings that flow from them; * to re-evaluate 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’ methods, and MIR; * to explore how digital libraries and digital musicology can combine to offer richer online access to online music collections; * to set the agenda for work in the field to address these new challenges and opportunities. TOPICS Topics of interest include, but are not limited to: Building and managing digital music collections * Optical music recognition * Information literacies for Music Digital Libraries * Data quality assessment Access, interfaces, and ergonomics * Interfaces and access mechanisms for digital music content * Identification/location of music (in all forms) in generic Digital Libraries * Techniques for locating and accessing music in very large Digital Libraries (e.g. HathiTrust, Internet Archive) * Mechanisms for combining multi-form music content within and between Digital Libraries and other digital resources * User information needs and behaviour for Music Digital Libraries Musicological knowledge * Music data representations, including manuscripts/scores and audio * Applied MIR techniques for digital music content or analysis * Computational and systematic approaches to musicological analysis * Extraction of musical concepts from symbolic notation and/or audio data * Metadata and metadata schemas for music * Application of Linked Data and Semantic Web techniques to Music Digital Library content, access, or organisation * Ontologies and categorisation of musics and music artefacts * Digital workflows (and their accessibility) for musicological research Improving data for musicology * Musical corpus-building at scale * Enriching public access to music, music-cultural, and music-ephemera material online * Digital Libraries showcasing need or support of musicology and/or other scholarly domain * Digital Libraries combining resources for musicology (e.g. combining audio, scores, bibliographic, geographic, ethnomusicology, performance, etc.) PROCEEDINGS Authors are encouraged to consult and reference previous DLfM proceedings of full and short papers, which are available as Open Access publications in the ACM Digital Library as part of ICPS; and via the DLfM website. We expect to confirm arrangements for 2026 main proceedings soon. Posters and Challenge papers will be published separately on the DLfM website. SUBMISSIONS All submissions must present novel work which has not been published elsewhere, and is not under active consideration by another conference or journal. Submissions must be anonymised as far as practically possible, and pre-prints must not be publicly available during review. All submissions will be peer-reviewed. Full and short papers will be double-blind peer-reviewed by at least 3 members of the programme committee. DLfM expects all accepted submissions to be presented in-person at the conference. All submissions must be in English, formatted according to the ACM ‘sigconf’ template for two-column papers (see FORMATTING below), in PDF format, and A4 size. Page limits for submitted papers apply to all text, excluding the bibliography (i.e., references can be included on pages over the specified limits). Submissions should be uploaded to the conference CMT website according to the IMPORTANT DATES above. The conference CMT website will open for submissions in December 2025. Authors should select the correct category for their submission as follows: * FULL PAPERS of up to 8 pages excluding references should report substantive and completed research. Accepted full papers will be included in the main proceedings. * SHORT PAPERS of up to 4 pages excluding references might report research which, while substantive, may not yet be complete. Academically thorough position papers are also suitable for submission as a short paper. Accepted short paper will be included in the main proceedings. * CHALLENGE PAPERS of up to 2 pages excluding references should meet the call for the DLfM CHALLENGE section, above. Accepted Challenge papers will be presented at the conference either as a lightning talk, part of a panel, or as a poster (as determined by the Programme Chair). Challenge submissions will be published on the conference website. * POSTERS should initially be submitted as an abstract outlining both the scholarly content and the proposed layout in 500 words, or fewer. Following acceptance, a digital copy of the poster itself must be submitted prior to the conference, which will be published on the DLfM website. Information on printed poster size and formats will be provided following acceptance. FORMATTING Authors should follow ACM instructions for formatting carefully. Authors submitting to all categories must use either the LaTeX or Word templates provided by ACM. Where possible, we recommend LaTeX (including Overleaf) due to a simpler process for accepted authors when producing camera-ready versions. Authors using the ACM LaTeX template should select 'sigconf', 'authordraft', and 'anonymous' settings for initial submission after downloading the template from: https://portalparts.acm.org/hippo/latex_templates/acmart-primary.zip Overleaf is an online web-based editor for LaTeX, with presets for the ACM template. Authors should select 'sigconf', 'authordraft', and 'anonymous' settings for initial submission before accessing: https://www.overleaf.com/latex/templates/association-for-computing-machinery-acm-sig-proceedings-template/bmvfhcdnxfty Authors wishing to use the ACM Word template should download it from : https://www.acm.org/binaries/content/assets/publications/word_style/interim-template-style/interim-layout.docx USE OF GENERATIVE AI IN SUBMISSIONS We recognize that authors of academic works use a variety of tools in the research on which they report, and to prepare the report itself, ranging from simple to very sophisticated. Community opinion on the appropriateness of such tools may be varied and evolving; AI powered language tools have in particular led to significant debate. We note that tools may generate useful and helpful results, but also errors or misleading results; therefore, knowing which tools were used, and how, is relevant to evaluating and interpreting academic works. In the view of this, we: 1. require authors to report in their work any significant use of sophisticated tools, such as instruments and software; we now include in particular text-to-text generative AI among those tools that should be reported consistent with subject standards for methodology; 2. remind all colleagues that by signing their name as an author of a contribution, they each individually take full responsibility for all its contents, irrespective of how the contents were generated. If generative AI language tools generate inappropriate language, plagiarized content, errors, mistakes, incorrect references, or misleading content, and that output is included in academic works, it is the responsibility of the author(s); 3. stipulate that generative AI language tools should not be listed as an author; instead authors should refer to the first point;. 4. run AI detection tools on all submissions in order to ensure accurate labour attribution. This statement mirrors the Music Encoding Conference 2026’s policy itself adapted from the arXiv policy for authors’ use of generative AI language tools . We reserve the right to amend this statement as discussions continue and evolve. DLfM reserves the right to implement sanctions on authors should generative AI be misused or found to be in breach of research ethics, up to and including a ban on future submissions. CONTACTS and ORGANISATION Please contact the Chairs with any questions via: https://cmt3.research.microsoft.com/DLfM2026/Email/Chairs Programme Chair: Joshua Neumann, Akademie der Wissenschaften und der Literatur Mainz General Chair: Elsa De Luca, CESEM, Universidade Nova de Lisboa Proceedings Chair: Jessica Grimmer, University of Maryland Local Chair: Arsinoi Ioannidou, RISM Greek Office Joshua Neumann, PhD Wissenschaftlicher Mitarbeiter Digitale Musikwissenschaft Akademie der Wissenschaften und der Literatur | Mainz Principle Investigator: Creating Schubert’s „Die Winterreise“ in Performance with Dietrich Fischer-Dieskau (funded by the Thyssen Stiftung für Wissenschaftsförderung) Joshua.Neumann at adwmainz.de -------------- next part -------------- An HTML attachment was scrubbed... URL: From diet at bsb-muenchen.de Wed Nov 26 08:27:02 2025 From: diet at bsb-muenchen.de (=?UTF-8?Q?J=C3=BCrgen=20Diet?=) Date: Wed, 26 Nov 2025 08:27:02 +0100 Subject: [MEI-L] Antw: Call for Papers: Digital Librariea for Musicology (Erkrankung) In-Reply-To: References: Message-ID: <6926ABC60200006F0004653D@gwia.bsb-muenchen.de> Sehr geehrte Damen und Herren, ich bin erkrankt und kann Ihre Mail nicht bearbeiten. BItte wenden Sie sich an meinen Vertreter Bernhard Lutz (bernhard.lutz at bsb-muenchen.de). Beste Grüße, Jürgen Diet >>> "Neumann, Dr. Joshua" 26.11.25 08:19 >>> Call for Papers 13th International Conference on Digital Libraries for Musicology (DLfM 2026) Thursday 02 July 2026 Thessaloniki Concert Hall, Thessaloniki, Greece A satellite event of IAML 2026 https://dlfm.web.ox.ac.uk/2026-cfp The Digital Libraries for Musicology (DLfM) conference presents a venue specifically for those working on, and with, Digital Library systems and content in the domain of music and musicology. 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 the application of music information retrieval (MIR) to musicology (see TOPICS, below). DLfM alternately partners with the IAML and ISMIR conferences to encourage new collaborations and discussions surrounding prominent issues in our shared field. This installment of DLfM follows previous successful conferences in Seoul, Stellenbosch, Milan, Prague, Montreal, The Hague, Paris, Shanghai, New York, Knoxville, and London. This year DLfM will be a satellite event of the IAML conference, and given that music libraries and archives are a regular first-contact point between researchers and materials, we particularly encourage papers and posters that use library and archives technologies and conceptualizations to broaden and enhance access to digital musicology methodologies. Scores and music documents have been digitized by libraries and archives worldwide for preservation and access, which numerous specialist technologies have been developed for use in their analysis. At this year’s conference, we aim to stimulate discussions around increasing usage of research tools within cultural heritage preservation and analysis, and resulting implications therefrom. We especially welcome papers focused on the “for Musicology” aspect of DLfM, considering how methodologies and results therein are made accessible for musicologists. Please note that DLfM’s review process for submissions to proceedings operates on full and short papers, not on abstracts. See ‘Submissions’ below for further details on format. DLfM CHALLENGE To complement the main proceedings, the DLfM Challenge welcomes short submissions introducing works-in-progress and position papers that will benefit from the broad expertise of the DLfM community. We welcome speculative work and submissions that explore particular problems, as well as those that suggest solutions, whether they emanate from practical, theoretical/philosophical, or other conceptual frameworks. Given Greece’s acclaimed fundamentality to Western culture and modes of thinking, this year’s challenge track draws inspiration from the Socratic method of questioning as basis for research, preservation, and teaching in the interdisciplinary contexts represented by the DLfM and IAML communities. We thus seek challenge track proposals engaging a variety of questions—both with and about digital libraries’ content, infrastructure, tools, and engagement. IMPORTANT DATES All deadlines are at 23:59 Anywhere on Earth. There will be no extensions to submission deadlines. * Submissions open via CMT: December 2025 * Full paper and short paper submission deadline: 23 January 2026 * Notification of full and short paper acceptance: 09 March 2026 * Camera-ready submission deadline for full and short papers*: 09 April 2026 * DLfM Challenge submission deadline: 15 April 2026 * Poster submission deadline: 15 April 2026 * Conference registration deadline: 25 June 2026 * Conference: 02 July 2026, Thessaloniki, Greece * At least one author of accepted submissionsconference before the camera-ready submission deadline to be included in the conference programme. Registration details will be announced on the conference website in December 2025. CONFERENCE OBJECTIVES * to act as a forum for reporting, presenting, evaluating and disseminating work combining technology with musicology through Digital Library systems; * to critically evaluate the operation of Music Digital Libraries and the applications and findings that flow from them; * to re-evaluate 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’ methods, and MIR; * to explore how digital libraries and digital musicology can combine to offer richer online access to online music collections; * to set the agenda for work in the field to address these new challenges and opportunities. TOPICS Topics of interest include, but are not limited to: Building and managing digital music collections * Optical music recognition * Information literacies for Music Digital Libraries * Data quality assessment Access, interfaces, and ergonomics * Interfaces and access mechanisms for digital music content * Identification/location of music (in all forms) in generic Digital Libraries * Techniques for locating and accessing music in very large Digital Libraries (e.g. HathiTrust, Internet Archive) * Mechanisms for combining multi-form music content within and between Digital Libraries and other digital resources * User information needs and behaviour for Music Digital Libraries Musicological knowledge * Music data representations, including manuscripts/scores and audio * Applied MIR techniques for digital music content or analysis * Computational and systematic approaches to musicological analysis * Extraction of musical concepts from symbolic notation and/or audio data * Metadata and metadata schemas for music * Application of Linked Data and Semantic Web techniques to Music Digital Library content, access, or organisation * Ontologies and categorisation of musics and music artefacts * Digital workflows (and their accessibility) for musicological research Improving data for musicology * Musical corpus-building at scale * Enriching public access to music, music-cultural, and music-ephemera material online * Digital Libraries showcasing need or support of musicology and/or other scholarly domain * Digital Libraries combining resources for musicology (e.g. combining audio, scores, bibliographic, geographic, ethnomusicology, performance, etc.) PROCEEDINGS Authors are encouraged to consult and reference previous DLfM proceedings of full and short papers, which are available as Open Access publications in the ACM Digital Library as part of ICPS; and via the DLfM website. We expect to confirm arrangements for 2026 main proceedings soon. Posters and Challenge papers will be published separately on the DLfM website. SUBMISSIONS All submissions must present novel work which has not been published elsewhere, and is not under active consideration by another conference or journal. Submissions must be anonymised as far as practically possible, and pre-prints must not be publicly available during review. All submissions will be peer-reviewed. Full and short papers will be double-blind peer-reviewed by at least 3 members of the programme committee. DLfM expects all accepted submissions to be presented in-person at the conference. All submissions must be in English, formatted according to the ACM ‘sigconf’ template for two-column papers (see FORMATTING below), in PDF format, and A4 size. Page limits for submitted papers apply to all text, excluding the bibliography (i.e., references can be included on pages over the specified limits). Submissions should be uploaded to the conference CMT website r 2025. Authors should select the correct category for their submission as follows: * FULL PAPERS of up to 8 pages excluding references should report substantive and completed research. Accepted full papers will be included in the main proceedings. * SHORT PAPERS of up to 4 pages excluding references might report research which, while substantive, may not yet be complete. Academically thorough position papers are also suitable for submission as a short paper. Accepted short paper will be included in the main proceedings. * CHALLENGE PAPERS of up to 2 pages excluding references should meet the call for the DLfM CHALLENGE section, above. Accepted Challenge papers will be presented at the conference either as a lightning talk, part of a panel, or as a poster (as determined by the Programme Chair). Challenge submissions will be published on the conference website. * POSTERS should initially be submitted as an abstract outlining both the scholarly content and the proposed layout in 500 words, or fewer. Following acceptance, a digital copy of the poster itself must be submitted prior to the conference, which will be published on the DLfM website. Information on printed poster size and formats will be provided following acceptance. FORMATTING Authors should follow ACM instructions for formatting carefully. Authors submitting to all categories must use either the LaTeX or Word templates provided by ACM. Where possible, we recommend LaTeX (including Overleaf) due to a simpler process for accepted authors when producing camera-ready versions. Authors using the ACM LaTeX template should select 'sigconf', 'authordraft', and 'anonymous' settings for initial submission after downloading the template from: https://portalparts.acm.org/hippo/latex_templates/acmart-primary.zip Overleaf is an online web-based editor for LaTeX, with presets for the ACM template. Authors should select 'sigconf', 'authordraft', and 'anonymous' settings for initial submission before accessing: https://www.overleaf.com/latex/templates/association-for-computing-machinery-acm-sig-proceedings-template/bmvfhcdnxfty Authors wishing to use the ACM Word template should download it from : https://www.acm.org/binaries/content/assets/publications/word_style/interim-template-style/interim-layout.docx USE OF GENERATIVE AI IN SUBMISSIONS We recognize that authors of academic works use a variety of tools in the research on which they report, and to prepare the report itself, ranging from simple to very sophisticated. Community opinion on the appropriateness of such tools may be varied and evolving; AI powered language tools have in particular led to significant debate. We note that tools may generate useful and helpful results, but also errors or misleading results; therefore, knowing which tools were used, and how, is relevant to evaluating and interpreting academic works. In the view of this, we: 1. require authors to report in their work any significant use of sophisticated tools, such as instruments and software; we now include in particular text-to-text generative AI among those tools that should be reported consistent with subject standards for methodology; 2. remind all colleagues that by signing their name as an author of a contribution, they each individually take full responsibility for all its contents, irrespective of how the contents were generated. If generative AI language tools generate inappropriate language, plagiarized content, errors, mistakes, incorrect references, or misleading content, and that output is included in academic works, it is the responsibility of the author(s); 3. stipulate that generative AI language tools should not be listed as an author; instead authors should refer to the first point;. 4. run AI detection tools on all submissions in order to ensure accurate labour attribution. This statement mirrors the Music Encoding Conference 2026’s policy ttps://blog.arxiv.org/2023/01/31/arxiv-announces-new-policy-on-chatgpt-and-similar-tools/> . We reserve the right to amend this statement as discussions continue and evolve. DLfM reserves the right to implement sanctions on authors should generative AI be misused or found to be in breach of research ethics, up to and including a ban on future submissions. CONTACTS and ORGANISATION Please contact the Chairs with any questions via: https://cmt3.research.microsoft.com/DLfM2026/Email/Chairs Programme Chair: Joshua Neumann, Akademie der Wissenschaften und der Literatur Mainz General Chair: Elsa De Luca, CESEM, Universidade Nova de Lisboa Proceedings Chair: Jessica Grimmer, University of Maryland Local Chair: Arsinoi Ioannidou, RISM Greek Office Joshua Neumann, PhD Wissenschaftlicher Mitarbeiter Digitale Musikwissenschaft Akademie der Wissenschaften und der Literatur | Mainz Principle Investigator: Creating Schubert’s „Die Winterreise“ in Performance with Dietrich Fischer-Dieskau (funded by the Thyssen Stiftung für Wissenschaftsförderung) Joshua.Neumann at adwmainz.de -------------- next part -------------- An HTML attachment was scrubbed... URL: From Joshua.Neumann at adwmainz.de Wed Nov 26 08:42:29 2025 From: Joshua.Neumann at adwmainz.de (Neumann, Dr. Joshua) Date: Wed, 26 Nov 2025 07:42:29 +0000 Subject: [MEI-L] CORRECTION - Call for Papers: Digital Libraries for Musicology In-Reply-To: <54838ebffdc54c808020b9191c021833@adwmainz.de> References: <54838ebffdc54c808020b9191c021833@adwmainz.de> Message-ID: ________________________________ From: Neumann, Dr. Joshua Sent: Wednesday, November 26, 2025 8:19 To: mei-l at lists.uni-paderborn.de Subject: Call for Papers: Digital Libraries for Musicology Call for Papers 13th International Conference on Digital Libraries for Musicology (DLfM 2026) Thursday 02 July 2026 Thessaloniki Concert Hall, Thessaloniki, Greece A satellite event of IAML 2026 https://dlfm.web.ox.ac.uk/2026-cfp The Digital Libraries for Musicology (DLfM) conference presents a venue specifically for those working on, and with, Digital Library systems and content in the domain of music and musicology. 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 the application of music information retrieval (MIR) to musicology (see TOPICS, below). DLfM alternately partners with the IAML and ISMIR conferences to encourage new collaborations and discussions surrounding prominent issues in our shared field. This installment of DLfM follows previous successful conferences in Seoul, Stellenbosch, Milan, Prague, Montreal, The Hague, Paris, Shanghai, New York, Knoxville, and London. This year DLfM will be a satellite event of the IAML conference, and given that music libraries and archives are a regular first-contact point between researchers and materials, we particularly encourage papers and posters that use library and archives technologies and conceptualizations to broaden and enhance access to digital musicology methodologies. Scores and music documents have been digitized by libraries and archives worldwide for preservation and access, which numerous specialist technologies have been developed for use in their analysis. At this year’s conference, we aim to stimulate discussions around increasing usage of research tools within cultural heritage preservation and analysis, and resulting implications therefrom. We especially welcome papers focused on the “for Musicology” aspect of DLfM, considering how methodologies and results therein are made accessible for musicologists. Please note that DLfM’s review process for submissions to proceedings operates on full and short papers, not on abstracts. See ‘Submissions’ below for further details on format. DLfM CHALLENGE To complement the main proceedings, the DLfM Challenge welcomes short submissions introducing works-in-progress and position papers that will benefit from the broad expertise of the DLfM community. We welcome speculative work and submissions that explore particular problems, as well as those that suggest solutions, whether they emanate from practical, theoretical/philosophical, or other conceptual frameworks. Given Greece’s acclaimed fundamentality to Western culture and modes of thinking, this year’s challenge track draws inspiration from the Socratic method of questioning as basis for research, preservation, and teaching in the interdisciplinary contexts represented by the DLfM and IAML communities. We thus seek challenge track proposals engaging a variety of questions—both with and about digital libraries’ content, infrastructure, tools, and engagement. IMPORTANT DATES All deadlines are at 23:59 Anywhere on Earth. There will be no extensions to submission deadlines. * Submissions open via CMT: December 2025 * Full paper and short paper submission deadline: 23 January 2026 * Notification of full and short paper acceptance: 09 March 2026 * Camera-ready submission deadline for full and short papers*: 09 April 2026 * DLfM Challenge submission deadline: 15 April 2026 * Poster submission deadline: 15 April 2026 * Conference registration deadline: 25 June 2026 * Conference: 02 July 2026, Thessaloniki, Greece * At least one author of accepted submissions must be registered for the conference before the camera-ready submission deadline to be included in the conference programme. Registration details will be announced on the conference website in December 2025. CONFERENCE OBJECTIVES * to act as a forum for reporting, presenting, evaluating and disseminating work combining technology with musicology through Digital Library systems; * to critically evaluate the operation of Music Digital Libraries and the applications and findings that flow from them; * to re-evaluate 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’ methods, and MIR; * to explore how digital libraries and digital musicology can combine to offer richer online access to online music collections; * to set the agenda for work in the field to address these new challenges and opportunities. TOPICS Topics of interest include, but are not limited to: Building and managing digital music collections * Optical music recognition * Information literacies for Music Digital Libraries * Data quality assessment Access, interfaces, and ergonomics * Interfaces and access mechanisms for digital music content * Identification/location of music (in all forms) in generic Digital Libraries * Techniques for locating and accessing music in very large Digital Libraries (e.g. HathiTrust, Internet Archive) * Mechanisms for combining multi-form music content within and between Digital Libraries and other digital resources * User information needs and behaviour for Music Digital Libraries Musicological knowledge * Music data representations, including manuscripts/scores and audio * Applied MIR techniques for digital music content or analysis * Computational and systematic approaches to musicological analysis * Extraction of musical concepts from symbolic notation and/or audio data * Metadata and metadata schemas for music * Application of Linked Data and Semantic Web techniques to Music Digital Library content, access, or organisation * Ontologies and categorisation of musics and music artefacts * Digital workflows (and their accessibility) for musicological research Improving data for musicology * Musical corpus-building at scale * Enriching public access to music, music-cultural, and music-ephemera material online * Digital Libraries showcasing need or support of musicology and/or other scholarly domain * Digital Libraries combining resources for musicology (e.g. combining audio, scores, bibliographic, geographic, ethnomusicology, performance, etc.) PROCEEDINGS Authors are encouraged to consult and reference previous DLfM proceedings of full and short papers, which are available as Open Access publications in the ACM Digital Library as part of ICPS; and via the DLfM website. We expect to confirm arrangements for 2026 main proceedings soon. Posters and Challenge papers will be published separately on the DLfM website. SUBMISSIONS All submissions must present novel work which has not been published elsewhere, and is not under active consideration by another conference or journal. Submissions must be anonymised as far as practically possible, and pre-prints must not be publicly available during review. All submissions will be peer-reviewed. Full and short papers will be double-blind peer-reviewed by at least 3 members of the programme committee. DLfM expects all accepted submissions to be presented in-person at the conference. All submissions must be in English, formatted according to the ACM ‘sigconf’ template for two-column papers (see FORMATTING below), in PDF format, and A4 size. Page limits for submitted papers apply to all text, excluding the bibliography (i.e., references can be included on pages over the specified limits). Submissions should be uploaded to the conference CMT website according to the IMPORTANT DATES above. The conference CMT website will open for submissions in December 2025. Authors should select the correct category for their submission as follows: * FULL PAPERS of up to 8 pages excluding references should report substantive and completed research. Accepted full papers will be included in the main proceedings. * SHORT PAPERS of up to 4 pages excluding references might report research which, while substantive, may not yet be complete. Academically thorough position papers are also suitable for submission as a short paper. Accepted short paper will be included in the main proceedings. * CHALLENGE PAPERS of up to 2 pages excluding references should meet the call for the DLfM CHALLENGE section, above. Accepted Challenge papers will be presented at the conference either as a lightning talk, part of a panel, or as a poster (as determined by the Programme Chair). Challenge submissions will be published on the conference website. * POSTERS should initially be submitted as an abstract outlining both the scholarly content and the proposed layout in 500 words, or fewer. Following acceptance, a digital copy of the poster itself must be submitted prior to the conference, which will be published on the DLfM website. Information on printed poster size and formats will be provided following acceptance. FORMATTING Authors should follow ACM instructions for formatting carefully. Authors submitting to all categories must use either the LaTeX or Word templates provided by ACM. Where possible, we recommend LaTeX (including Overleaf) due to a simpler process for accepted authors when producing camera-ready versions. Authors using the ACM LaTeX template should select 'sigconf', 'authordraft', and 'anonymous' settings for initial submission after downloading the template from: https://portalparts.acm.org/hippo/latex_templates/acmart-primary.zip Overleaf is an online web-based editor for LaTeX, with presets for the ACM template. Authors should select 'sigconf', 'authordraft', and 'anonymous' settings for initial submission before accessing: https://www.overleaf.com/latex/templates/association-for-computing-machinery-acm-sig-proceedings-template/bmvfhcdnxfty Authors wishing to use the ACM Word template should download it from : https://www.acm.org/binaries/content/assets/publications/word_style/interim-template-style/interim-layout.docx USE OF GENERATIVE AI IN SUBMISSIONS We recognize that authors of academic works use a variety of tools in the research on which they report, and to prepare the report itself, ranging from simple to very sophisticated. Community opinion on the appropriateness of such tools may be varied and evolving; AI powered language tools have in particular led to significant debate. We note that tools may generate useful and helpful results, but also errors or misleading results; therefore, knowing which tools were used, and how, is relevant to evaluating and interpreting academic works. In the view of this, we: 1. require authors to report in their work any significant use of sophisticated tools, such as instruments and software; we now include in particular text-to-text generative AI among those tools that should be reported consistent with subject standards for methodology; 2. remind all colleagues that by signing their name as an author of a contribution, they each individually take full responsibility for all its contents, irrespective of how the contents were generated. If generative AI language tools generate inappropriate language, plagiarized content, errors, mistakes, incorrect references, or misleading content, and that output is included in academic works, it is the responsibility of the author(s); 3. stipulate that generative AI language tools should not be listed as an author; instead authors should refer to the first point;. 4. run AI detection tools on all submissions in order to ensure accurate labour attribution. This statement mirrors the Music Encoding Conference 2026’s policy itself adapted from the arXiv policy for authors’ use of generative AI language tools . We reserve the right to amend this statement as discussions continue and evolve. DLfM reserves the right to implement sanctions on authors should generative AI be misused or found to be in breach of research ethics, up to and including a ban on future submissions. CONTACTS and ORGANISATION Please contact the Chairs with any questions via: https://cmt3.research.microsoft.com/DLfM2026/Email/Chairs Programme Chair: Joshua Neumann, Akademie der Wissenschaften und der Literatur Mainz General Chair: Elsa De Luca, CESEM, Universidade Nova de Lisboa Proceedings Chair: Jessica Grimmer, University of Maryland Local Chair: Arsinoi Ioannidou, RISM Greek Office Joshua Neumann, PhD Wissenschaftlicher Mitarbeiter Digitale Musikwissenschaft Akademie der Wissenschaften und der Literatur | Mainz Principle Investigator: Creating Schubert’s „Die Winterreise“ in Performance with Dietrich Fischer-Dieskau (funded by the Thyssen Stiftung für Wissenschaftsförderung) Joshua.Neumann at adwmainz.de -------------- next part -------------- An HTML attachment was scrubbed... URL: From lxpugin at gmail.com Fri Nov 28 11:29:00 2025 From: lxpugin at gmail.com (Laurent Pugin) Date: Fri, 28 Nov 2025 11:29:00 +0100 Subject: [MEI-L] 2025 MEI Board elections started Message-ID: Dear MEI Community, The 2025 MEI Board elections for the term 2026–2028 started a few moments ago. You should receive individual voting links by email from OpaVote (the system we use for the elections) with noreply at opavote.com as the sender. If by any chance you do not receive such an email, please check your junk mail folders and feel free to contact us at elections at music-encoding.org You can find the candidate statements online at https://music-encoding.org/community/mei-board/elections/2025/candidates. Use this chance to get involved in the future of MEI ;-) Yours sincerely, Martha E. Thomae & Laurent Pugin MEI election administrators 2025 by appointment of the MEI Board -------------- next part -------------- An HTML attachment was scrubbed... URL: From diet at bsb-muenchen.de Fri Nov 28 11:29:31 2025 From: diet at bsb-muenchen.de (=?UTF-8?Q?J=C3=BCrgen=20Diet?=) Date: Fri, 28 Nov 2025 11:29:31 +0100 Subject: [MEI-L] Antw: 2025 MEI Board elections started (Erkrankung) In-Reply-To: <2E19214A0200007BAB59E961@gwia.bsb-muenchen.de> References: <2E19214A0200007BAB59E961@gwia.bsb-muenchen.de> Message-ID: <6929798B0200006F00046657@gwia.bsb-muenchen.de> Sehr geehrte Damen und Herren, ich bin erkrankt und kann Ihre Mail nicht bearbeiten. BItte wenden Sie sich an meinen Vertreter Bernhard Lutz (bernhard.lutz at bsb-muenchen.de). Beste Grüße, Jürgen Diet >>> Laurent Pugin 28.11.25 11:29 >>> Dear MEI Community, The 2025 MEI Board elections for the term 2026–2028 started a few moments ago. You should receive individual voting links by email from OpaVote (the system we use for the elections) with noreply at opavote.com as the sender. If by any chance you do not receive such an email, please check your junk mail folders and feel free to contact us at elections at music-encoding.org You can find the candidate statements online at https://music-encoding.org/community/mei-board/elections/2025/candidates. Use this chance to get involved in the future of MEI ;-) Yours sincerely, Martha E. Thomae & Laurent Pugin MEI election administrators 2025 by appointment of the MEI Board -------------- next part -------------- An HTML attachment was scrubbed... URL: From Anna.Kijas at tufts.edu Mon Dec 8 14:00:00 2025 From: Anna.Kijas at tufts.edu (Kijas, Anna E) Date: Mon, 8 Dec 2025 13:00:00 +0000 Subject: [MEI-L] MEI Community Forum Postponed to January 2026 Message-ID: Dear Colleagues, The Dec. 11th MEI Community Forum will be postponed until January 2026. Date and time will be shared a few weeks before the forum. We will invite MEI community members to share relevant news, updates, or projects at the forum by signing up via this form. Best, Anna Anna E. Kijas Assistant Director, Digital Scholarship & Lilly Music Library Tisch Library | Tufts University Pronouns: she, her, hers Get help with Digital Scholarship at Tisch Library Book an appointment | (617) 627-2846 Co-founder of Saving Ukrainian Cultural Heritage Online (SUCHO) Administrative Chair, Music Encoding Initiative -------------- next part -------------- An HTML attachment was scrubbed... URL: From diet at bsb-muenchen.de Mon Dec 8 14:15:14 2025 From: diet at bsb-muenchen.de (=?UTF-8?Q?J=C3=BCrgen=20Diet?=) Date: Mon, 08 Dec 2025 14:15:14 +0100 Subject: [MEI-L] Antw: MEI Community Forum Postponed to January 2026 (Erkrankung) In-Reply-To: <98D9D6A502000074C0B7C52D@gwia.bsb-muenchen.de> References: <98D9D6A502000074C0B7C52D@gwia.bsb-muenchen.de> Message-ID: <6936CF620200006F00046A0C@gwia.bsb-muenchen.de> Sehr geehrte Damen und Herren, ich bin erkrankt und kann Ihre Mail nicht bearbeiten. BItte wenden Sie sich an meinen Vertreter Bernhard Lutz (bernhard.lutz at bsb-muenchen.de). Beste Grüße, Jürgen Diet >>> "Kijas, Anna E" 8.12.25 14:00 >>> Dear Colleagues, The Dec. 11th MEI Community Forum will be postponed until January 2026. Date and time will be shared a few weeks before the forum. We will invite MEI community members to share relevant news, updates, or projects at the forum by signing up via this form. Best, Anna Anna E. Kijas Assistant Director, Digital Scholarship & Lilly Music Library Tisch Library | Tufts University Pronouns: she, her, hers Get help with Digital Scholarship at Tisch Library Book an appointment | (617) 627-2846 Co-founder of Saving Ukrainian Cultural Heritage Online (SUCHO) Administrative Chair, Music Encoding Initiative -------------- next part -------------- An HTML attachment was scrubbed... URL: From luca.ludovico at unimi.it Sat Nov 22 19:54:52 2025 From: luca.ludovico at unimi.it (Luca Andrea Ludovico) Date: Sat, 22 Nov 2025 18:54:52 -0000 Subject: [MEI-L] Computer Supported Music Education @ CSEDU 2026 - 1st CFP Message-ID: [Apologies for cross-postings] [Please distribute] 18th International Conference on Computer Supported Education (CSEDU 2026) Special session on Computer Supported Music Education (CSME 2026) - 7th 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 Benidorm, Spain, on May 18-20, 2026. 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 analysis, creation, and performance. Accepted papers, presented at the conference by at least one of the authors, will be published in the Conference Proceedings under an ISBN number. They will be obtainable on paper and digital support and made available for online consultation at the SCITEPRESS Digital Library. The proceedings will be submitted to SCOPUS, Google Scholar, DBLP, Semantic Scholar, EI, and Web of Science / Conference Proceedings Citation Index for indexation. Important dates * Paper Submission: March 24, 2026 * Authors Notification: April 7, 2026 * Camera Ready and Registration: April 15, 2026 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From diet at bsb-muenchen.de Tue Dec 16 12:19:48 2025 From: diet at bsb-muenchen.de (=?UTF-8?Q?J=C3=BCrgen=20Diet?=) Date: Tue, 16 Dec 2025 12:19:48 +0100 Subject: [MEI-L] Antw: Computer Supported Music Education @ CSEDU 2026 - 1st CFP (Erkrankung) In-Reply-To: References: Message-ID: <694140540200006F00046E29@gwia.bsb-muenchen.de> Sehr geehrte Damen und Herren, ich bin erkrankt und kann Ihre Mail nicht bearbeiten. BItte wenden Sie sich an meinen Vertreter Bernhard Lutz (bernhard.lutz at bsb-muenchen.de). Beste Grüße, Jürgen Diet >>> Luca Andrea Ludovico 22.11.25 19:54 >>> [Apologies for cross-postings] [Please distribute] 18th International Conference on Computer Supported Education (CSEDU 2026) Special session on Computer Supported Music Education (CSME 2026) - 7th 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 Benidorm, Spain, on May 18-20, 2026. 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 analysis, creation, and performance. Accepted papers, presented at the conference by at least one of the authors, will be published in the Conference Proceedings under an ISBN number. They will be obtainable on paper and digital support and made available for online consultation at the SCITEPRESS Digital Library. The proceedings will be submitted to SCOPUS, Google Scholar, DBLP, Semantic Scholar, EI, and Web of Science / Conference Proceedings Citation Index for indexation. Important dates * Paper Submission: March 24, 2026 * Authors Notification: April 7, 2026 * Camera Ready and Registration: April 15, 2026 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From thomaemartha at gmail.com Wed Dec 17 14:52:23 2025 From: thomaemartha at gmail.com (Martha Thomae) Date: Wed, 17 Dec 2025 14:52:23 +0100 Subject: [MEI-L] MEI Board: Election's Results Message-ID: <20AE91CE-4E5A-4514-BB64-20B10B31DC89@gmail.com> Dear MEI Community, It is our pleasure to announce the results of the MEI Board elections (for the term 2026–2028). Elected by the MEI community are: Jessica Grimmer, Anna Plaksin, and David Weigl Congratulations to our new and returning Board members, and many thanks to all our excellent candidates! You will shortly receive an automated e-mail from the OpaVote system with a link to a detailed breakdown of the results. Please check your spam folder if this does not arrive in the next few minutes. Do not hesitate to contact us at elections at music-encoding.org if you require any assistance or further information. Yours sincerely, Martha E. Thomae and Laurent Pugin MEI election administrators 2025 by appointment of the MEI Board -------------- next part -------------- An HTML attachment was scrubbed... URL: From diet at bsb-muenchen.de Wed Dec 17 14:52:53 2025 From: diet at bsb-muenchen.de (=?UTF-8?Q?J=C3=BCrgen=20Diet?=) Date: Wed, 17 Dec 2025 14:52:53 +0100 Subject: [MEI-L] Antw: MEI Board: Election's Results (Erkrankung) In-Reply-To: References: Message-ID: <6942B5B50200006F00046F2E@gwia.bsb-muenchen.de> Sehr geehrte Damen und Herren, ich bin erkrankt und kann Ihre Mail nicht bearbeiten. BItte wenden Sie sich an meinen Vertreter Bernhard Lutz (bernhard.lutz at bsb-muenchen.de). Beste Grüße, Jürgen Diet >>> Martha Thomae 17.12.25 14:52 >>> Dear MEI Community, It is our pleasure to announce the results of the MEI Board elections (for the term 2026–2028). Elected by the MEI community are: Jessica Grimmer, Anna Plaksin, and David Weigl Congratulations to our new and returning Board members, and many thanks to all our excellent candidates! You will shortly receive an automated e-mail from the OpaVote system with a link to a detailed breakdown of the results. Please check your spam folder if this does not arrive in the next few minutes. Do not hesitate to contact us at elections at music-encoding.org if you require any assistance or further information. Yours sincerely, Martha E. Thomae and Laurent Pugin MEI election administrators 2025 by appointment of the MEI Board -------------- next part -------------- An HTML attachment was scrubbed... URL: