@inproceedings{Kepper_2022,
 abstract = {Traditional music philology aims at establishing an edited text, which is supposed to stage a clearly identified and well-reasoned version of a musical work. Such a text will always depend on sources used for its preparation and decisions taken by the editor(s). However, the intention is to deliver a product -- a static text, which resembles a specific combination of the transmitted sources of the work in question. In Genetic Editing, the focus lies elsewhere: Instead of justifying a specific product version, the intention is to trace the creative processes involved in the composition of that work. Obviously, those processes are only accessible through transmitted documents as well, but those documents do not need to contain full texts, nor are they only relevant when the composition has already matured enough to more or less reflect the final work.

The Beethovens Werkstatt project is one of the first endeavors to explore the applicability of Genetic Editing to music. Several years ago, a presentation at MEC 2015 in Florence introduced the first findings of the project and illustrated the then novel approaches of encoding genetic processes in MEI [2]. The discussions of the conceptual model proposed there eventually led to the introduction of several new elements into MEI. Since then, not only MEI has evolved, but also the project. The paper at hand reflects on data model considerations for the project's current module.},
 author = {Kepper, Johannes and Cox, Susanne},
 title = {{Encoding Genetic Processes II}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {85--95},
 publisher = {{Humanities Commons}},
 isbn = {978-84-1302-173-7},
 editor = {M{\"u}nnich, Stefan and Rizo, David},
 booktitle = {{Music Encoding Conference Proceedings 2021}},
 year = {2022},
 doi = {10.17613/q6y4-9139},
 displayby = {Contributions from MEC 2021}
}

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