Files List

• Presentation slides for "An annotation model for software mentions and citations"  
  In category: encoding challenges, Pointers, Annotation, Overlapping.
  Uploaded by Daniel Jettka on 26 October 2023.

  Authors: Alvares Freire, Fernanda / Ferger, Anne / Henny-Krahmer, Ulrike / Jettka, Daniel

  ABSTRACT

  Appropriate citation of software plays an important role in academic publications to make research results reproducible and reusable. There are several recommendations and guidelines on how to deal with research software (Anzt et al. 2021; Smith et al. 2016; Lamprecht et al. 2020) and how to cite software that is used in the research process (Jackson n.d.; Chue Hong et al. 2019a, 2019b; Druskat 2021a, 2021b).

  To find out if these recommendations (e.g. consistent versioning, persistent identification, appropriate credit to developers) are actually reflected in practice, we examined conference abstracts of the DHd (Henny-Krahmer/Jettka 2022) and ADHO conferences (Jettka et al., to appear). Apparently, there is great potential (and need) for improving the current situation. In our software citation studies, an annotation model was formulated in the form of a TEI taxonomy. Initially, a document-centered approach was pursued, i.e., software mentions were semi-automatically identified and directly annotated with citation information that could be located somewhere else in the document, for instance, in the bibliographies of the abstracts.

  We now propose a revised TEI annotation model, which aims at a more precise annotation to differentiate between pure software mentions (names) and other parts of citation information (such as URLs, developers, or bibliography entries) and linking these parts together. In our new approach, we use pointers () to an externally defined list of software entities and reference these pointers from the annotation instances of corresponding citation information. Thus we still aim at examining the current situation of software citation (this time in articles of the Journal of the Text Encoding Initiative), but at the same time, we provide and use a model and create a data basis of software mentions and citations which could be used for training of automatic methods to identify software mentions and corresponding citation information in academic texts.

  BIBLIOGRAPHY

  Anzt, Hartwig / Bach, Felix / Druskat, Stephan / Löffler, Frank / Loewe, Axel / Renard, Bernhard Y. / Seemann, Gunnar / Struck, Alexander et al. (2021): “An environment for sustainable research software in Germany and beyond: current state, open challenges, and call for action [version 2; peer review: 2 approved].” In: F1000Research 9:295. https://doi.org/10.12688/f1000research.23224.2.

  Chue Hong, Neil (ed.) (2019a): “Software Citation Checklist for Authors” (Version 0.9.0). Zenodo. http://doi.org/10.5281/zenodo.3479199.

  Chue Hong, Neil (ed.) (2019b): “Software Citation Checklist for Developers” (Version 0.9.0). Zenodo. http://doi.org/10.5281/zenodo.3482769.

  Druskat, Stephan (2021a): “Research software citation for researchers.” Research Software Citation. Cite and Make Citable! (Version 1.1). https://cite.research-software.org/researchers/ [last accessed: 04.11.2022].

  Druskat, Stephan (2021b): “Research software citation for developers.” Research Software Citation. Cite and Make Citable! (Version 1.1). https://cite.research-software.org/developers [last accessed: 04.11.2022].

  Henny-Krahmer, Ulrike / Daniel Jettka (2022): “Softwarezitation als Technik der Wissenschaftskultur. Vom Umgang mit Forschungssoftware in den Digital Humanities.” In: DHd 2022. Kulturen des digitalen Gedächtnisses. Konferenzabstracts, Potsdam, 7.-11.3.2022. Potsdam: Universität Potsdam, 203-206. DOI: https://doi.org/10.5281/zenodo.6328047.

  Jackson, Mike (n. d.): “How to cite and describe software.” In: Software and research: The Software Sustainability Institute’s Blog. https://www.software.ac.uk/how-cite-and-describe-software [last accessed: 04.11.2021].

  Jettka, Daniel / Henny-Krahmer, Ulrike / Ferger, Anne / Alvares Freire, Fernanda (to appear): “Software Citation in the Digital Humanities”. In: DH 2023. Collaboration as Opportunity. Conference abstracts, Graz, 10.-14.7.2023.

  Lamprecht, Anna-Lena / Garcia, Leyla / Kuzak, Mateusz / Martinez, Carlos / Arcila, Ricardo /Del Pico, Eva M. / Dominguez Del Angel, Victoria et al. (2020): “Towards FAIR principles for research software.” In: Data Science 3 (1): 37–59. https://doi.org/10.3233/DS-190026.

  Smith, Arfon M. / Katz, Daniel S. / Niemeyer, Kyle E. / FORCE11 Software Citation Working Group (2016): “Software citation principles.” In: PeerJ Computer Science 2:e86. http://dx.doi.org/10.7717/peerj-cs.86.

• Brainstorming on the Encoding of Eastern Neumes: Middle-Byzantine Notation as a Case-Study  
  In category: encoding challenges, non-western script.
  Uploaded by Elsa De Luca on 9 October 2023.

  Authors: De Luca, Elsa / Alexandru, Maria / Fujinaga, Ichiro
  ABSTRACT
  The effort to encode neumatic notations has primarily focused on Western European repertories, with little attention given to the neumes employed in the East. To address this gap, we propose to apply our knowledge of the MEI Neumes Module and Eastern notations to raise awareness on some methodological issues that have hindered modern scholars from encoding Eastern neumes. Our case study is the Middle Byzantine notation, employed from the mid-12th-century to about 1815 across a large geographical area encompassing mainly Eastern Europe and part of the Middle East. This notation has been chosen since it has many points of contacts with Western notations but, at the same time, its basics differ radically from what we encounter in the West.

  In the East, music scripts are of the ‘articulatory’ type, serving as a guide on how to make music, almost similar to a tablature style of notation. In Western notation the performance is captured mostly within the neume. In the East notation is context sensitive and its interpretation depends on different factors, such as the genre and style of melopoeia, the mode, the melodic formula, the place within the musical phrase, the poetic text, and the liturgical frame. This fundamental difference has also an impact on the kind and number of signs employed in the notations. Middle-Byzantine notation offers an impressive number of combinations and positioning of signs including neumes that provide specific interval information and subsidiary or cheironomic signs indicating the musical ‘Gestaltung’, which implies rhythmical properties, grouping, and phrasing of the interval signs, dynamics, ethos of the formulas, as well as different levels of ornamentation and melodic expansion, according to the context. Possibly, the most difficult feature to be captured in the encoding of Middle-Byzantine notation is the relative position of the signs in the notational space; indeed, their relative positioning (above, below, next) can change the overall interpretation of all the related signs.

  When considering the graphical appearance and semantic of neumes, we should adopt both approaches to the encoding of Middle-Byzantine notation. It is crucial to be able to capture in the encoding even the finest details because this notation is very precise and conveys musical meaning through the tiniest graphical feature. On the other hand, encoding the semantic of the neumes should remain possible and open since, besides the basic intervallic structure of the pieces, the other dimensions of the music have to be interpreted in the light of oral tradition. Therefore, it would be desirable to include information on historically informed practice, which is available through musical treatises, manuscripts, and the oral tradition of Byzantine Chant. Middle-Byzantine neumes are therefore rich in metadata and their encoding should also include the names of the neumes in Greek, possibly with transliteration, translation, and etymology.

  We hope that our presentation can actively contribute to the ongoing discussions on encoding of non-Western early notations, particularly the Middle-Byzantine notation, and encourage a collaborative effort to find the most effective way to encode Eastern neumes.

  Bibliography
  De Luca, Elsa, and Haig Utidjian. 2023. Challenging the MEI Neumes Module: Encoding Armenian Neumes. In Proceedings of the Music Encoding Conference, Dalhousie University, 19–22 May 2022, ed. by Jennifer Bain and David M. Weigl. Forthcoming.

  De Luca, Elsa, Jennifer Bain, Inga Behrendt, Ichiro Fujinaga, Kate Helsen, Alessandra Ignesti, Debra Lacoste, and Sarah Ann Long. 2019. Capturing Early Notations in MEI: The Case of Old Hispanic Neumes. MusikTheorie-Zeitschrift für Musikwissenschaft 3: 229–49.

  De Luca, Elsa, Jennifer Bain, Inga Behrendt, Ichiro Fujinaga, Kate Helsen, Alessandra Ignesti, Debra Lacoste, and Sarah Ann Long. 2019. Cantus Ultimus’ MEI Neume Module and its Interoperability Across Chant Notations. Abstract. Music Encoding Conference, Vienna. Available at https://music-encoding.org/conference/abstracts/abstracts_mec2019/MEI%202019_De%20Luca%20et%20alii.pdf.

  Alexandru, Maria. 2017. Paleography of Byzantine Music: Scientifc and artistic quests (in Greek: Παλαιογραφία Βυζαντινής Μουσικής. Επιστημονικές και καλλιτεχνικές αναζητήσεις). Athens: Hellenic Academic Ebooks. https://repository.kallipos.gr/handle/11419/6487

  Siklafidis, Nikolaos, and Maria Alexandru. 2022. Font Design of Psaltic (Byzantine) Notation for Greek Musical Repertories. In Proceedings of the Music Encoding Conference, Alicante 2021. (poster και αντίστοιχο κείμενο): https://hcommons-staging.org/deposits/item/hc:46011/ (3.12.2022).

  Troelsgård. Christian. 2011. Byzantine Neumes. Α Νew Introduction to the Middle Byzantine Musical Notation. MMB, Subsidia IX. Copenhagen: Tusculanum Press.

• Visual or Symbolic? Best Practices for Encoding Neumes  
  In category: encoding challenges.
  Uploaded by Elsa De Luca on 3 October 2023.

  Authors: De Luca, Elsa / Behrendt, Inga / Fujinaga, Ichiro / Helsen, Kate / Morent, Stefan

  ABSTRACT
  A general standard practice in MEI music encoding is to capture the meaning of the music symbols rather than their graphic appearance. While this philosophy is suitable for modern notations, it does not necessarily apply to the encoding of neumes. Early notations (9th – 13th century) conveyed a different set of musical instructions from what we are used to seeing in modern notation because it existed primarily in an oral tradition.

  The original meaning of early music scripts is, to various degrees, lost. Early music palaeographers (Atkinson, Treitler, Rankin, among others) managed to pin down some principles behind the various music scripts employed across Europe and part of the Middle East and the Levant. Broadly speaking, the meaning originally attributed to the neumes depended on their graphical appearance (e.g., a vertical stroke mirroring a raising melody) and/or on some conventions established and shared by the scribes and readers familiar with that specific music script. The quantity of musical information conveyed by the neumes to modern readers varies according to the style of the music script. As such, the music encoding of early music scripts requires, on one hand, a system flexible enough to capture musical information unclear to the modern reader (e.g., a rising melody, even though the size of the interval is unknown). On the other hand, it should be able to express something (e.g., a neume) whose original meaning is now lost and the only thing left is a recognizable pen-stroke found repeatedly in the sources.

  Recently some historical musicologists proposed some changes to improve the MEI Neumes Module applicability to different kinds of early notations. One of the specific challenges they faced was the difficulty of encoding potentially meaningful visual aspects of the neumes in the current MEI system without being certain of the semantic—musical meaning. Existing MEI schemas will need to be expanded to include several new attributes and elements in order to properly capture the rich graphical variety founds in early music scripts.

  This paper proposal aims to bridge the gap between semantic and graphic uses of MEI. We will present a case study highlighting the decision-making process behind some of the changes that will be suggested in the near future to the current MEI Neumes Module. By discussing some neumes in St Gall notation, we aim to contribute to the wider discussion about best practices for the encoding of neumes and, more broadly, to the digital representation of music. Hopefully this paper will give an insight on the laborious process, and specific expertise, required to encode neumes and contribute towards the conversation about the encoding of non-Western music notations. We wish to raise awareness on the peculiarity of neumatic notations within the bigger picture of musical scores and to foster dialogue within the MEI community and beyond, to find together the best system to encode neumes.

  BIBLIOGRAPHY
  Bain, Jennifer, Inga Behrendt, and Kate Helsen. 2014. “Linienlose Neumen und ihre Repräsentation mit MEI Schema, Herausforderungen in der Arbeit im Optical Neume Recognition Project (ONRP).” Digitale Rekonstruktionen mittelalterlicher Bibliotheken. Edited by Sabine Philippi and Philipp Vanscheidt. Trierer Beiträge zu den historischen Kulturwissenschaften 12: 119–132.

  Behrendt, Inga, Jennifer Bain, and Kate Helsen. 2017. “MEI Kodierung der frühesten Notation in linienlosen Neumen.” Kodikologie und Paläographie im Digitalen Zeitalter 4 / Codicology and Palaeography in the Digital Age. Vol. 4. Edited by Hannah Busch, Franz Fischer, and Patrick Sahle, with the cooperation of Philip Hegel and Celiz Krause, Norderstedt 2016. Köln: Institut für Dokumentologie und Editorik e.V, 2017, 281–296.

  De Luca, Elsa, and Haig Utidjian. 2023. “Challenging the MEI Neumes Module: Encoding Armenian Neumes.” In Proceedings of the Music Encoding Conference, Dalhousie University, 19–22 May 2022, ed. by Jennifer Bain and David M. Weigl. Forthcoming.

  De Luca, Elsa, Jennifer Bain, Inga Behrendt, Ichiro Fujinaga, Kate Helsen, Alessandra Ignesti, Debra Lacoste, Sarah Ann Long. 2019. “Capturing Early Notations in MEI: The Case of Old Hispanic Neumes.” MusikTheorie-Zeitschrift für Musikwissenschaft 3: 229–249.

  De Luca, Elsa, Jennifer Bain, Inga Behrendt, Ichiro Fujinaga, Kate Helsen, Alessandra Ignesti, Debra Lacoste, and Sarah Ann Long. “Cantus Ultimus’ MEI Neume Module and its Interoperability Across Chant Notations.” Abstract. Music Encoding Conference, Vienna. Available at https://music-encoding.org/conference/abstracts/abstracts_mec2019/MEI%202019_De%20Luca%20et%20alii.pdf

  Helsen, Kate, Inga Behrendt, and Jennifer Bain. 2017. “A Morphology of Medieval Notations in the Optical Neume Recognition Project.” Arti musices: Croatian Musicological Review 48/2: 241–266. https://hrcak.srce.hr/index.php?show=clanak&id_clanak_jezik=284211

  Hoppe, Paul, and Stefan Morent. 2021. “Computergestützte Tools zur Codierung des Gregorianischen Chorals. Ein neuer Eingabe-Editor für das MEI neumes-module.” Schaffen und Nachahmen. Kreative Prozesse im Mittelalter, hrsg. v. Volker Leppin unter Mitarbeit von Samuel J. Raiser (Das Mittelalter. Perspektiven mediävistischer Forschung. Beihefte 16), Berlin und Boston 2021, 555–560.

  Morent, Stefan, Fabian Köninger, and Niels Pfefffer 2023. MEI Neumes Workspace. https://www.digimuwi.uni-tuebingen.de/neumes-workspace/

  Morent, Stefan. 2011. “Digitalisierungskonzepte für Neumen-Notationen - die Projekte TüBingen und e-sequence.” Perspektiven Digitaler Musikedition. Die Tonkunst 3: 277–283.

• Poster: Text Encoding without //text. The use of //abstract as means to avoid the one-dimensionality of ego-networks in ›Buber-Correspondences Digital‹ project  
  In category: correspondence, encoding challenges, Entity-relationship model.
  Uploaded by Thomas Kollatz on 28 September 2023.

  more information: https://gitlab.rlp.net/adwmainz/digicademy/bkd/bkd-presentations/teimec

• A multi-media dictionary of endangered languages with TEI Lex-0: A case study of Hatoma, Yaeyama Ryukyuan  
  In category: encoding challenges, non-western script.
  Uploaded by Natsuko Nakagawa on 26 September 2023.

  Currently, we are building a digital dictionary of Hatoma, a Yaeyama Ryukyuan language, in the TEI Lex-0 format (Romary and Tasovac 2018). The original dictionary was written by Shinichi Kajiku, a native speaker of Hatoma Ryukyuan and a linguist (Kajiku 2020). He spent more than 50 years compiling the dictionary, which was structured in a spreadsheet format by one of the authors in 2019 (Kajiku and Nakagawa 2021). The structured dictionary with audio files for each entry is now available online. We report some elements the dictionary contains and TEI Lex-0 does not assume yet.

• Poster: 3D Text Encoding and TEI: Text, Editions, and Spatiality  
  In category: encoding challenges.
  Uploaded by Jun Ogawa on 23 September 2023.

  This poster presents the 3D text encoding method using TEI schema. Based on the discussion we had in TEI2022, proposing the use ofto represent the three-dimensional spatiality and textual information, we have further developed the method in that more sophisticated encoding such as editorial marks using , , and etc. can be now implemented and automatically rendered to a 3D space by our rendering algorithm. In addition, we will suggest that the 3D text data encoded in that way should function as Linked Data to locate the text in a broader information network of 3D objects and spaces.

• Cracking the Code: Overcoming the Challenges of Encoding Correspondence  
  In category: encoding challenges.
  Uploaded by Dimitra Grigoriou on 21 September 2023.

  W. H. Auden (1907-1973), a prominent figure in the English-language literary landscape of the twentieth century. Despite extensive scholarly exploration of Auden’s English and American periods, his life and artistic contributions in Austria remain comparatively under-explored. It was not until the early 2000s that this aspect of the poet’s life began to garner scholarly attention, as evidenced by the works of Mendelson (2004) and Smith (2004). A new project at the Austrian Centre for Digital Humanities provides an open-access scholarly digital edition (SDE) that renders accessible the hitherto unattainable “working correspondence” between Auden and Stella Musulin, a writer of Welsh-Austrian origin, dating from 1959-1973 exchanged.
  The decision to employ TEI for encoding the materials was predicated on its provision of conventions that facilitate the description of a text’s physical and semantic structure (Burnard, 2014; Pierazzo, 2015b). Within the TEI language, the tag affords comprehensive guidelines for encoding correspondence by specifying various types of correspondence actions (i.e., sent, received, forwarded, redirected). We aimed at making these communicative activities explicit in formal representations of the information extracted from the materials; nonetheless, in some of the documents making clear distinctions between the categories proved challenging. While our objective was to classify our data within these four categories, we released the need to supplement the existing list of types with a new type, “composed”. Our analysis has revealed that the location and date of letter composition may differ from the location and date of its dispatch, which cannot be accommodated by the current encoding standards. Bibliographic resources (such as Stadler, Illetschko and Seifert 2016,12) acknowledge this peculiarity but fail, at least to our knowledge, to highlight and include this necessary information in the metadata. The solution we propose not only addresses the specific requirements of our project but also satisfies the broader academic imperative of encoding correspondence, particularly in relation to letters from earlier historical periods which may include additional postal specificities such as postal service, stamps, etc.