Lacking institutional support, the vast majority of digital humanities communities and their respective projects confront the pervasive challenge of sustainability. Shifts in technologies, resources, and communities over time present systemic barriers to the long-term viability of digital projects. The “Communities sustaining digital c…[Read more]

Our project focuses on watermarks found in the music manuscripts of Franz Schubert. The endeavour incorporates thermography, machine learning and signal processing to produce digitized watermarks for databases and manuscript descriptions as well as to curtail the approximate dating of some undated autographs. By applying fingerprint recognition…[Read more]

Digital tools offer many ways to find musical patterns with machines. But the task of formulating digital-musical queries systematically, interpreting the results, and refining our methods to yield intelligent insights about musical practice is far more difficult. In this presentation, a team of musicologists and data scientists will share our…[Read more]

Middle Byzantine notation, which is the most widely used musical notation of Byzantine music, has been used to notate Byzantine music between the mid-twelfth century and the early nineteenth century. Since its rules were never explicitly written down and enforced, but were instead informally interpreted, cantors, theorists and researchers do not…[Read more]

Capturing the personnel needed to perform a musical work in MEI metadata is straightforward with standard ensemble configurations, such as string quartets. In contrast, it can be highly complex for extensive orchestral settings, stage music, or, e.g., twentieth-century ‘Neue Musik.’ Especially in the latter case, the degree of possible var…[Read more]

The use of intelligent systems linked to musical tasks such as automatic composition, classification, and Music Information Retrieval has increasingly shown itself to be a promising field of study, not only from a computational, but also from a musical point of view. This paper aims to develop an innovative method capable of producing a coded…[Read more]

Musics in just intonation pose a wide number of challenges to encoding but perhaps none more imposing than their potential to freely drift through rational pitch space by minute intervals. Though such commatic drifts—whether Pythagorean, syntonic, septimal, or otherwise—are all too often framed as ‘problems’ inherent to rational tuning systems…[Read more]

The work of the Joseph Haydn Institute has been well-known in eighteenth-century studies and beyond since publishing the first four volumes of the Joseph Haydn Werke in 1958. As with any Gesamtausgabe undertaking, sources occupy a central role, and with them come massive amounts of data. Naturally, compilation and organization of the metadata…[Read more]

Timbre and texture are important and perceptually salient stylistic and structural parameters in popular music, yet their specific functional roles in this repertoire have not been theorized. This report describes the construction and encoding of a new popular-music corpus, Timbre in Popular Song (TiPS). The corpus comprises 400 songs, including…[Read more]

We present a new multi-layered, conceptual model for associating musical source materials to musicological arguments. We describe our proposal for operationalizing these concepts through a framework for musical annotation which we have implemented using RDF. Briefly stated, this model shows how portions of digitized data in various files and…[Read more]

The “Metadata Editor and Repository for MEI Data” (MerMEId) is a web-based tool to capture and enrich data in the MEI header. This tool was originally developed by Axel Teich Geertinger and Sigfrid Lundberg at the “Danish Centre for Music Editing”, under an open-source license. This poster describes the transfer of this project to communi…[Read more]

In this panel, we consider the role of MEI in providing common structures and meanings for heterogeneous musical practices and notations and, to a lesser extent, uses. Drawing on direct experience of working with particular cultural or historical material, we consider the robustness of the fundamental modelling of MEI, and its challenges and…[Read more]

Summary of an invited panel discussion at the Music Encoding Conference 2022.

The musical performance of a score is a domain rarely addressed in a reasonable level of detail by current digital music editions. A main reason for this may be a lack of suitable data formats that are capable of encoding more than ambiguous performance symbols or rather technical measurement series. The Music Performance Markup format is a recent…[Read more]

Over the last few years, OMR has been developed and studied. New perspectives have been provided that include handwritten music. Nonetheless, most of the research produced focuses on neumatic, mensural and cultured music. Barely any examples of non-canonical and modern music can be found. This paper is a statement of intention of a larger research…[Read more]

mei-friend is a ‘last mile’ editor for MEI-encodings intended to alleviate the common task of cleaning up encodings generated via optical music recognition, or via conversion from other formats. The open-source tool, building on the earlier mei-tools-atom codebase, was first presented to the MEI community at MEC ‘21, and has received more than…[Read more]

Encoding of western music notation is being standardized as a result of the dedicated work of the MEI and MusicXML communities. However, there is no machine-readable format for encoding traditional Japanese musical notation. This short paper discusses the use of MEI to encode traditional Japanese musical notation.

Full conference schedule, provided as the Appendix of the 2022 Music Encoding Conference Proceedings.

2022 Music Encoding Conference Proceedings – Full volume.

Este artículo visibiliza el uso que se le puede dar a una serie de proyectos de Humanidades Digitales, como son las bases de datos de Rolecall, DICAT y CATCOM o la biblioteca digital EMOTHE, a la hora de analizar las dinámicas escenográficas en el teatro español de finales del siglo XVI y principios del siglo XVII, coincidiendo con las déc…[Read more]