[MEI-L] DLfM 2026 Call for Posters

Wed Apr 1 08:53:16 CEST 2026

Call for Posters
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
Conference Website https://dlfm.web.ox.ac.uk/

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 posters focused on the “for Musicology” aspect of DLfM, considering how methodologies and results are made accessible. We also welcome posters that address the DLFM Challenge theme (see below).

DLfM CHALLENGE

To complement the main proceedings, the DLfM Challenge welcomes poster 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.

  *   Poster submission deadline: 15 April 2026

  *   Conference registration deadline: 25 June 2026

  *   Conference: 02 July 2026, Thessaloniki, Greece

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

  *   Access, interfaces, and ergonomics

  *   Musicological knowledge and the digital domain

  *   Improving data for musicology

SUBMISSIONS

All submissions must present novel work which has not been published elsewhere, and is not under active consideration by another conference or journal.

The link for submissions is: https://cmt3.research.microsoft.com/DLfM2026/Track/2/Submission/Create

DLfM expects all accepted submissions to be presented in-person at the conference.

Submissions should be uploaded to the conference CMT<https://cmt3.research.microsoft.com/DLfM2026/Track/2/Submission/Create> 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:

  *   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.

  *   POSTERS will be published on the DLfM website.

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<https://music-encoding.org/conference/2026/ai-statement/>, itself adapted from the arXiv policy for authors’ use of generative AI language tools<https://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.

Dr. Joshua Neumann
Wissenschaftlicher Mitarbeiter – Digitale Akademie
Centre for Digital Music Documentation

Creating Schubert’s Die Winterreise in Performance with Dietrich Fischer-Dieskau (funded by the Thyssen Stiftung für Wissenschaftsförderung), PI

Akademie der Wissenschaften und der Literatur | Mainz
Geschwister-Scholl-Straße 2
55131 Mainz

E-Mail: joshua.neumann at adwmainz.de
Web: https://adwmainz.de<https://adwmainz.de/>
[1764682127424]: https://orcid.org/0000-0001-7970-555<https://orcid.org/0000-0001-7970-5553>
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