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\n\n \n \n Duguid, T.\n\n\n \n \n \n \n The Forgotten Classroom? Bringing Music Encoding to a New Generation.\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 3–14, 2020. Humanities Commons\n
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Keynote I.\n\n
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@inproceedings{Duguid_2020,\n abstract = {Digital methods have begun to make their way into the research practices of music scholars, and most this insurgence can be attributed to the rise of the discipline of music technology. Though music encoding is becoming increasingly prevalent among the research and teaching methodologies of music scholars, evidence gathered from course descriptions and presentations at national meetings of music scholars would indicate that encoding continues to lag other music-based technologies. Drawing from the advancement of music technology and the experiences of digital humanities teaching and scholarship, this paper presents a path for the music encoding community to promote greater integration of encoding and digital methods more broadly into the pedagogical practices of music historians and music theorists.},\n author = {Duguid, Timothy},\n title = {{The Forgotten Classroom? Bringing Music Encoding to a New Generation}},\n pages = {3--14},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/fbqn-s474},\n bibbase_note = {<span style="color: green; font-weight: bold">Keynote I.</span>},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n%%% ------------------------------\n%%% MEC 2020 Proceedings: Articles\n\n\n
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\n Digital methods have begun to make their way into the research practices of music scholars, and most this insurgence can be attributed to the rise of the discipline of music technology. Though music encoding is becoming increasingly prevalent among the research and teaching methodologies of music scholars, evidence gathered from course descriptions and presentations at national meetings of music scholars would indicate that encoding continues to lag other music-based technologies. Drawing from the advancement of music technology and the experiences of digital humanities teaching and scholarship, this paper presents a path for the music encoding community to promote greater integration of encoding and digital methods more broadly into the pedagogical practices of music historians and music theorists.\n
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\n\n \n \n Regimbal, J.; Vigliensoni, G.; Hutnyk, C.; and Fujinaga, I.\n\n\n \n \n \n \n IIIF-Based Lyric and Neume Editor for Square-Notation Manuscripts.\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 15–18, 2020. Humanities Commons\n
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@inproceedings{Regimbal_2020,\n abstract = {In this paper we introduce a set of improvements to Neon, an online square-notation music editor based on the International Image Interoperability Framework (IIIF) and the Music Encoding Initiative (MEI) file format. The enhancements extend the functionality of Neon to the editing of lyrics and single-session editing of entire manuscripts and lyric editing. We describe a scheme for managing and processing the information necessary for visualizing and editing full manuscripts. A method of concurrently editing the position and content of lyrics is also discussed. We expect these will provide a better user experience when correcting the output of automated optical music recognition workflows},\n author = {Regimbal, Juliette and Vigliensoni, Gabriel and Hutnyk, Caitlin and Fujinaga, Ichiro},\n title = {{IIIF-Based Lyric and Neume Editor for Square-Notation Manuscripts}},\n pages = {15--18},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/d41w-n008},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n In this paper we introduce a set of improvements to Neon, an online square-notation music editor based on the International Image Interoperability Framework (IIIF) and the Music Encoding Initiative (MEI) file format. The enhancements extend the functionality of Neon to the editing of lyrics and single-session editing of entire manuscripts and lyric editing. We describe a scheme for managing and processing the information necessary for visualizing and editing full manuscripts. A method of concurrently editing the position and content of lyrics is also discussed. We expect these will provide a better user experience when correcting the output of automated optical music recognition workflows\n
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\n\n \n \n Thomae, M. E.; Ríos-Vila, Antonio; Calvo-Zaragoza, J.; Rizo, D.; and Iñesta, J. M.\n\n\n \n \n \n \n Retrieving Music Semantics from Optical Music Recognition by Machine Translation.\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 19–24, 2020. Humanities Commons\n
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@inproceedings{Thomae_2020,\n abstract = {In this paper, we apply machine translation techniques to solve one of the central problems in the field of optical music recognition: extracting the semantics of a sequence of music characters. So far, this problem has been approached through heuristics and grammars, which are not generalizable solutions. We borrowed the seq2seq model and the attention mechanism from machine translation to address this issue. Given its example-based learning, the model proposed is meant to apply to different notations provided there is enough training data. The model was tested on the PrIMuS dataset of common Western music notation incipits. Its performance was satisfactory for the vast majority of examples, flawlessly extracting the musical meaning of 85% of the incipits in the test set -- mapping correctly series of accidentals into key signatures, pairs of digits into time signatures, combinations of digits and rests into multi-measure rests, detecting implicit accidentals, etc.},\n author = {Thomae, Martha E. and R{\\'i}os-Vila, Antonio and Calvo-Zaragoza, Jorge and Rizo, David and I{\\~n}esta, Jos{\\'e} M.},\n title = {{Retrieving Music Semantics from Optical Music Recognition by Machine Translation}},\n pages = {19--24},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/605z-nt78},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n In this paper, we apply machine translation techniques to solve one of the central problems in the field of optical music recognition: extracting the semantics of a sequence of music characters. So far, this problem has been approached through heuristics and grammars, which are not generalizable solutions. We borrowed the seq2seq model and the attention mechanism from machine translation to address this issue. Given its example-based learning, the model proposed is meant to apply to different notations provided there is enough training data. The model was tested on the PrIMuS dataset of common Western music notation incipits. Its performance was satisfactory for the vast majority of examples, flawlessly extracting the musical meaning of 85% of the incipits in the test set – mapping correctly series of accidentals into key signatures, pairs of digits into time signatures, combinations of digits and rests into multi-measure rests, detecting implicit accidentals, etc.\n
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\n\n \n \n Ricciardi, E.; and Sapp, C. S.\n\n\n \n \n \n \n Editing Italian Madrigals in the Digital World: The Tasso in Music Project.\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 25–40, 2020. Humanities Commons\n
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@inproceedings{Ricciardi_2020,\n abstract = {Despite the interdisciplinary nature of the Italian madrigal -- a genre in which poetry and music often stand on equal footing -- critical editions of this repertoire tend to focus primarily on the \\textit{musical} text, devoting limited attention to the often-complex philological tradition of the poems set to music. Likewise, most critical editions are devoted to the works of a single composer -- as opposed to settings of the same poetry by multiple composers -- and thus offer a rather segmented perspective on the repertoire, which is not conducive to the study of musical traditions and to comparative analysis. This paper proposes a new model for critical editions of this repertoire, one in which musical \\textit{and} poetic texts are devoted equal attention. To do so, we will provide an overview of a digital project that follows this model, namely the Tasso in Music Project (www.tassomusic.org), showing how it draws on both musical (Humdrum, MEI) and textual (TEI) encoding systems to render the interdisciplinary nature of its repertoire.},\n author = {Ricciardi, Emiliano and Sapp, Craig Stuart},\n title = {{Editing Italian Madrigals in the Digital World: The Tasso in Music Project}},\n pages = {25--40},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/17a5-2b65},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n Despite the interdisciplinary nature of the Italian madrigal – a genre in which poetry and music often stand on equal footing – critical editions of this repertoire tend to focus primarily on the musical text, devoting limited attention to the often-complex philological tradition of the poems set to music. Likewise, most critical editions are devoted to the works of a single composer – as opposed to settings of the same poetry by multiple composers – and thus offer a rather segmented perspective on the repertoire, which is not conducive to the study of musical traditions and to comparative analysis. This paper proposes a new model for critical editions of this repertoire, one in which musical and poetic texts are devoted equal attention. To do so, we will provide an overview of a digital project that follows this model, namely the Tasso in Music Project (www.tassomusic.org), showing how it draws on both musical (Humdrum, MEI) and textual (TEI) encoding systems to render the interdisciplinary nature of its repertoire.\n
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\n\n \n \n Pfeffer, N.; and Rettinghaus, K.\n\n\n \n \n \n \n Probstücke Digital – A Critical Digital Edition of Johann Mattheson's 24 Probstücke of the Ober-Classe.\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 41–46, 2020. Humanities Commons\n
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@inproceedings{Pfeffer_2020,\n abstract = {In 1731, Johann Mattheson writes in the preface to the Gro{\\ss}e Generalbass-Schule: "The complaint, however, which I made in the first edition of this Organisten-Probe about the badly printed notes, is still in its full strength, and patience is the only remedy." \\textit{Probst{\\"u}cke Digital} is an open and critical digital edition project of the 24 test pieces of the Ober-Classe ("upper class") by Johann Mattheson and as such an example for the use and application of MEI and TEI in an integrated environment. After almost 300 years it also seeks to finally give remedy to Mattheson's complaint by editing his Probst{\\"u}cke and by providing perhaps a little more than merely "prettifying" the original print.},\n author = {Pfeffer, Niels and Rettinghaus, Klaus},\n title = {{Probst{\\"u}cke Digital -- A Critical Digital Edition of Johann Mattheson's 24 Probst{\\"u}cke of the Ober-Classe}},\n pages = {41--46},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/r8pk-6e15},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n In 1731, Johann Mattheson writes in the preface to the Große Generalbass-Schule: \"The complaint, however, which I made in the first edition of this Organisten-Probe about the badly printed notes, is still in its full strength, and patience is the only remedy.\" Probstücke Digital is an open and critical digital edition project of the 24 test pieces of the Ober-Classe (\"upper class\") by Johann Mattheson and as such an example for the use and application of MEI and TEI in an integrated environment. After almost 300 years it also seeks to finally give remedy to Mattheson's complaint by editing his Probstücke and by providing perhaps a little more than merely \"prettifying\" the original print.\n
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\n\n \n \n M. Weigl, D.; and Goebl, W.\n\n\n \n \n \n \n Rehearsal Encodings with a Social Life.\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 51–53, 2020. Humanities Commons\n
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@inproceedings{M.Weigl_2020,\n abstract = {MEI-encoded scores are versatile music information resources representing musical meaning within a finely addressable XML structure. The Verovio MEI engraver reflects the hierarchy and identifiers of these encodings into its generated SVG output, supporting presentation of digital scores as richly interactive Web applications. Typical MEI workflows initially involve scholarly or editorial activities to generate an encoding, followed by its subsequent publication and use. Further iterations may derive new encodings from precedents; but the suitability of MEI to interactive applications also offers more dynamic alternatives, in which the encoding provides a framework connecting data that is generated and consumed simultaneously in real-time. Exemplars include compositions which self-modify according to external contextual parameters, such as the current weather at time of performance, or which are assembled by user-imposed external semantics, such as a performer's explicit choices and implicit performative success at playing musical triggers within a composition. When captured, these external semantic signals (interlinked with the MEI structure) themselves encode the evolution of a dynamic score during a particular performance. They have value beyond the immediate performance context; when archived, they allow audiences to revisit and compare different performances.},\n author = {{M. Weigl}, David and Goebl, Werner},\n title = {{Rehearsal Encodings with a Social Life}},\n pages = {51--53},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/5ae5-8387},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n MEI-encoded scores are versatile music information resources representing musical meaning within a finely addressable XML structure. The Verovio MEI engraver reflects the hierarchy and identifiers of these encodings into its generated SVG output, supporting presentation of digital scores as richly interactive Web applications. Typical MEI workflows initially involve scholarly or editorial activities to generate an encoding, followed by its subsequent publication and use. Further iterations may derive new encodings from precedents; but the suitability of MEI to interactive applications also offers more dynamic alternatives, in which the encoding provides a framework connecting data that is generated and consumed simultaneously in real-time. Exemplars include compositions which self-modify according to external contextual parameters, such as the current weather at time of performance, or which are assembled by user-imposed external semantics, such as a performer's explicit choices and implicit performative success at playing musical triggers within a composition. When captured, these external semantic signals (interlinked with the MEI structure) themselves encode the evolution of a dynamic score during a particular performance. They have value beyond the immediate performance context; when archived, they allow audiences to revisit and compare different performances.\n
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\n\n \n \n Lehrman, P. D.\n\n\n \n \n \n \n MIDI 2.0: Promises and Challenges.\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 55–58, 2020. Humanities Commons\n
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@inproceedings{Lehrman_2020,\n abstract = {MIDI, the musical instrument digital interface, is a highly successful protocol for conveying and, through the use of Standard MIDI Files, representing musical performance information. However, it lacks the ability to convey notation information. The newly approved MIDI 2.0 protocol gives us a chance to rectify that by including notation information in the next version of the MIDI File Specification.},\n author = {Lehrman, Paul D.},\n title = {{MIDI 2.0: Promises and Challenges}},\n pages = {55--58},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/652c-4540},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n MIDI, the musical instrument digital interface, is a highly successful protocol for conveying and, through the use of Standard MIDI Files, representing musical performance information. However, it lacks the ability to convey notation information. The newly approved MIDI 2.0 protocol gives us a chance to rectify that by including notation information in the next version of the MIDI File Specification.\n
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\n\n \n \n Herold, K.; Kepper, J.; Mo, R.; and Seipelt, A.\n\n\n \n \n \n \n MusicDiff – A Diff Tool for MEI.\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 59–66, 2020. Humanities Commons\n
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@inproceedings{Herold_2020,\n abstract = {For musicologists, the collation of multiple sources of the same work is a frequent task. By comparing different witnesses, they seek to identify variation, describe dependencies, and ultimately understand the genesis and transmission of (musical) works. Obviously, the need for such comparison is independent from the medium in which a musical work is manifested. In computing, comparing files for difference is a common task, and the well-known Unix utility \\textit{diff} is almost 46 years old. However, \\textit{diff}, like many other such tools, operates on plain text. While many music encoding formats based on plain text exist, formats used in the field of Digital Humanities are typically based on XML. There are dedicated algorithms for comparing XML as well, but they only focus on the syntax of XML, but not the semantic structures modelled into such standards as MEI. MEI seeks to describe musical structures, and the XML syntax is just a means to express those structures. A diff tool for music should focus on comparing musical structures, but not the specifics of their serialization into a file format. In \\textit{Beethovens Werkstatt}, a 16-year project focussed on exploring the concepts and requirements of digital genetic editions of music, based on and arguing with examples from Ludwig van Beethoven, a case-bound diff tool for music was developed. The following paper discusses how that specific tool can be generalized, and which use cases such a tool may support.},\n author = {Herold, Kristin and Kepper, Johannes and Mo, Ran and Seipelt, Agnes},\n title = {{MusicDiff -- A Diff Tool for MEI}},\n pages = {59--66},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/ydbv-e158},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n For musicologists, the collation of multiple sources of the same work is a frequent task. By comparing different witnesses, they seek to identify variation, describe dependencies, and ultimately understand the genesis and transmission of (musical) works. Obviously, the need for such comparison is independent from the medium in which a musical work is manifested. In computing, comparing files for difference is a common task, and the well-known Unix utility diff is almost 46 years old. However, diff, like many other such tools, operates on plain text. While many music encoding formats based on plain text exist, formats used in the field of Digital Humanities are typically based on XML. There are dedicated algorithms for comparing XML as well, but they only focus on the syntax of XML, but not the semantic structures modelled into such standards as MEI. MEI seeks to describe musical structures, and the XML syntax is just a means to express those structures. A diff tool for music should focus on comparing musical structures, but not the specifics of their serialization into a file format. In Beethovens Werkstatt, a 16-year project focussed on exploring the concepts and requirements of digital genetic editions of music, based on and arguing with examples from Ludwig van Beethoven, a case-bound diff tool for music was developed. The following paper discusses how that specific tool can be generalized, and which use cases such a tool may support.\n
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\n\n \n \n Obert, S.\n\n\n \n \n \n \n Beethovens Werkstatt on the Test Bench.\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 67–70, 2020. Humanities Commons\n
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@inproceedings{Obert_2020,\n abstract = {In my master thesis I am working on the analysis of scriptural problems, trying to discuss the chronology of Ludwig van Beethoven's entries in the autograph of his \\textit{Flohlied} op. 75, no. 3. This is in order to examine the efficiency of the so-called \\textit{VideApp} of the research project \\textit{Beethovens Werkstatt} which studies sketches and manuscripts of Beethoven by combining methods of genetic criticism and digital edition.},\n author = {Obert, Salome},\n title = {{\\textit{Beethovens Werkstatt} on the Test Bench}},\n pages = {67--70},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/j9rm-fa25},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n In my master thesis I am working on the analysis of scriptural problems, trying to discuss the chronology of Ludwig van Beethoven's entries in the autograph of his Flohlied op. 75, no. 3. This is in order to examine the efficiency of the so-called VideApp of the research project Beethovens Werkstatt which studies sketches and manuscripts of Beethoven by combining methods of genetic criticism and digital edition.\n
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\n\n \n \n de Valk, R.; Lewis, D.; Crawford, T.; Ahmed, R.; Pugin, L.; and Kepper, J.\n\n\n \n \n \n \n Crafting TabMEI, a Module for Encoding Instrumental Tablatures.\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 75–81, 2020. Humanities Commons\n
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@inproceedings{Valk_2020,\n abstract = {In this progress report, we describe the issues encountered during the design and implementation of TabMEI, a new MEI module for encoding instrumental tablatures. We discuss the main challenges faced and lay out our workflow for implementing the TabMEI module. In addition, we present a number of example encodings, and we describe anticipated applications of the module.},\n author = {de Valk, Reinier and Lewis, David and Crawford, Tim and Ahmed, Ryaan and Pugin, Laurent and Kepper, Johannes},\n title = {{Crafting TabMEI, a Module for Encoding Instrumental Tablatures}},\n pages = {75--81},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/4f2k-fr26},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n In this progress report, we describe the issues encountered during the design and implementation of TabMEI, a new MEI module for encoding instrumental tablatures. We discuss the main challenges faced and lay out our workflow for implementing the TabMEI module. In addition, we present a number of example encodings, and we describe anticipated applications of the module.\n
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\n\n \n \n Nápoles López, N.; and Fujinaga, I.\n\n\n \n \n \n \n Harmalysis: A Language for the Annotation of Roman Numerals in Symbolic Music Representations.\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 83–85, 2020. Humanities Commons\n
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@inproceedings{NapolesLopez_2020,\n abstract = {High-quality annotations of harmonic analysis are scarce. Furthermore, the existing data usually follows different conventions for spelling scale degrees, inversions, and special chords (e.g., cadential six-four). There have been efforts for standardizing the notation of harmonic analysis annotations, however, these have not been very successful because: 1) there are few software tools able to parse such notations 2) as a consequence, researchers have not adopted the suggested notations and it is more frequent to find a different notation with every new dataset. We attempt to mitigate the limitations of existing notations through the definition of a new language for harmonic analysis, which we call \\textit{harmalysis}. This language 1) provides a notation that adjusts as much as possible to the way in which researchers have annotated roman numerals in existing datasets, 2) formalizes the resulting notation into a consistent and extensible context-free grammar, 3) uses the context-free grammar to generate tools that are able to parse and validate annotations in the syntax of the language. We make the formal definition of the language, a context-free grammar described in the Extended Backus-Naur Form (EBNF), available as an open-source repository. Within the same repository, we make available tools for parsing annotations in the harmalysis language. The tools allow the users to extract high-level semantic information from their annotations (e.g., local key, root of the chord, inversion, added intervals, whether the chord is tonicizing another key or not, etc.) and to validate the correctness of a given annotation according to the grammar of the proposed language.},\n author = {{N{\\'a}poles L{\\'o}pez}, N{\\'e}stor and Fujinaga, Ichiro},\n title = {{Harmalysis: A Language for the Annotation of Roman Numerals in Symbolic Music Representations}},\n pages = {83--85},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/380x-dd98},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n High-quality annotations of harmonic analysis are scarce. Furthermore, the existing data usually follows different conventions for spelling scale degrees, inversions, and special chords (e.g., cadential six-four). There have been efforts for standardizing the notation of harmonic analysis annotations, however, these have not been very successful because: 1) there are few software tools able to parse such notations 2) as a consequence, researchers have not adopted the suggested notations and it is more frequent to find a different notation with every new dataset. We attempt to mitigate the limitations of existing notations through the definition of a new language for harmonic analysis, which we call harmalysis. This language 1) provides a notation that adjusts as much as possible to the way in which researchers have annotated roman numerals in existing datasets, 2) formalizes the resulting notation into a consistent and extensible context-free grammar, 3) uses the context-free grammar to generate tools that are able to parse and validate annotations in the syntax of the language. We make the formal definition of the language, a context-free grammar described in the Extended Backus-Naur Form (EBNF), available as an open-source repository. Within the same repository, we make available tools for parsing annotations in the harmalysis language. The tools allow the users to extract high-level semantic information from their annotations (e.g., local key, root of the chord, inversion, added intervals, whether the chord is tonicizing another key or not, etc.) and to validate the correctness of a given annotation according to the grammar of the proposed language.\n
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\n\n \n \n Plaksin, A.\n\n\n \n \n \n \n Do Visual Features Matter? Studies in Phylogenetic Analysis of Mensural Music.\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 87–94, 2020. Humanities Commons\n
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@inproceedings{Plaksin_2020,\n abstract = {This paper reports on the task of developing concepts for a computational analysis of the transmission of mensural music based on concepts of phylogenetic analysis. Since the analysis of transmission aims for the reconstruction of relations between sources, it focuses on the differences of rather similar items. Therefore, it is necessary to find substitution models which are optimized for distinguishing fine levels of differences and to deal with the structural ambiguities and visual variance of mensural notation.},\n author = {Plaksin, Anna},\n title = {{Do Visual Features Matter? Studies in Phylogenetic Analysis of Mensural Music}},\n pages = {87--94},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/pzy7-ek18},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n This paper reports on the task of developing concepts for a computational analysis of the transmission of mensural music based on concepts of phylogenetic analysis. Since the analysis of transmission aims for the reconstruction of relations between sources, it focuses on the differences of rather similar items. Therefore, it is necessary to find substitution models which are optimized for distinguishing fine levels of differences and to deal with the structural ambiguities and visual variance of mensural notation.\n
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\n\n \n \n Parada-Cabaleiro, E.; and Torrente, Á.\n\n\n \n \n \n \n Preventing Conversion Failure across Encoding Formats: A Transcription Protocol and Representation Scheme Considerations [Poster].\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 105–108, 2020. Humanities Commons\n
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@inproceedings{ParadaCabaleiro_2020,\n abstract = {Conversion issues across musical symbolic representations, such as musicXML, MEI, and humdrum, are well known. Often, these depend on methodological choices undertaken during the generation and processing of the data. For a better under-standing of this topic, we present a transcription protocol, result of trial and error transcription attempts performed with Finale engraving software, which aims to prevent conversion errors (Verovio 2.1.0 and VHV were taken into account for conversion) from musicXML (export format from Finale) to MEI and **kern (symbolic representations also evaluated).},\n author = {Parada-Cabaleiro, Emilia and Torrente, {\\'A}lvaro},\n title = {{Preventing Conversion Failure across Encoding Formats: A Transcription Protocol and Representation Scheme Considerations [Poster]}},\n pages = {105--108},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/etwb-m434},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n Conversion issues across musical symbolic representations, such as musicXML, MEI, and humdrum, are well known. Often, these depend on methodological choices undertaken during the generation and processing of the data. For a better under-standing of this topic, we present a transcription protocol, result of trial and error transcription attempts performed with Finale engraving software, which aims to prevent conversion errors (Verovio 2.1.0 and VHV were taken into account for conversion) from musicXML (export format from Finale) to MEI and **kern (symbolic representations also evaluated).\n
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\n\n \n \n Rettinghaus, K.; Röwenstrunk, D.; and Kepper, J.\n\n\n \n \n \n \n Integrating Score Rendition in the MEI Garage [Poster].\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 109, 2020. Humanities Commons\n
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@inproceedings{Rettinghaus_2020,\n abstract = {The MEI Garage is a toolbox for various tasks related to MEI, but also other encoding formats. Besides the possibility to customize the MEI framework for specific needs, turning it into a reasonable format for a given purpose, one major aspect of the MEI Garage is that it provides easy-to-use conversions between MEI and a growing number of other music encoding formats, including MusicXML. This is possible through both a guided web interface and a REST API.},\n author = {Rettinghaus, Klaus and R{\\"o}wenstrunk, Daniel and Kepper, Johannes},\n title = {{Integrating Score Rendition in the MEI Garage [Poster]}},\n pages = {109},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n The MEI Garage is a toolbox for various tasks related to MEI, but also other encoding formats. Besides the possibility to customize the MEI framework for specific needs, turning it into a reasonable format for a given purpose, one major aspect of the MEI Garage is that it provides easy-to-use conversions between MEI and a growing number of other music encoding formats, including MusicXML. This is possible through both a guided web interface and a REST API.\n
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\n\n \n \n Rashleigh, P.; and Brusch, C.\n\n\n \n \n \n \n Multimedia from the 17th-Century Book to the 21st-Century Web: a Playable Digital Edition of Michael Maier's \"Atalanta fugiens\" [Poster].\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 111–116, 2020. Humanities Commons\n
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@inproceedings{Rashleigh_2020,\n abstract = {\\textit{Furnace and Fugue} is both a digital edition of and scholarly essays on Michael Maier's \\textit{Atalanta fugiens}, a 17th-century alchemical emblem book. Each of the book's 50 mutlilingual emblems includes a fugue for three voices, which represents the race between Atalanta and Hippomenes. The project modernized the polyphonic fugues into animated notation that is playable in a web browser.},\n author = {Rashleigh, Patrick and Brusch, Crystal},\n title = {{Multimedia from the 17th-Century Book to the 21st-Century Web: a Playable Digital Edition of Michael Maier's "Atalanta fugiens" [Poster]}},\n pages = {111--116},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/ggym-sc21},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n Furnace and Fugue is both a digital edition of and scholarly essays on Michael Maier's Atalanta fugiens, a 17th-century alchemical emblem book. Each of the book's 50 mutlilingual emblems includes a fugue for three voices, which represents the race between Atalanta and Hippomenes. The project modernized the polyphonic fugues into animated notation that is playable in a web browser.\n
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\n\n \n \n Kuo, K.; and Viglianti, R.\n\n\n \n \n \n \n Implementing the Enhancing Music Addressability API for MusicXML [Poster].\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 117–120, 2020. Humanities Commons\n
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@inproceedings{Kuo_2020,\n abstract = {The ability to "address" areas of a musical score is useful in music scholarship such as analysis and/or historical research. In this project, we implement software that enables us to "select" regions of MusicXML files, in accordance with the Enhancing Music Addressability (EMA) specification.},\n author = {Kuo, Kevin and Viglianti, Raffaele},\n title = {{Implementing the Enhancing Music Addressability API for MusicXML [Poster]}},\n pages = {117--120},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/n2nk-aa67},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n
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\n The ability to \"address\" areas of a musical score is useful in music scholarship such as analysis and/or historical research. In this project, we implement software that enables us to \"select\" regions of MusicXML files, in accordance with the Enhancing Music Addressability (EMA) specification.\n
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\n\n \n \n Desmond, K.; Hankinson, A.; Pugin, L.; Regimbal, J.; Sapp, C. S.; and Thomae, M. E.\n\n\n \n \n \n \n Next Steps for Measuring Polyphony – A Prototype Editor for Encoding Mensural Music [Poster].\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 121–124, 2020. Humanities Commons\n
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@inproceedings{Desmond_2020,\n abstract = {This poster presents an NEH-funded project to develop a prototype editor for encoding mensural notation (PI: Karen Desmond, Brandeis University). It builds on the Measuring Polyphony project (measuringpolyphony.org), a website that presents digitisations of polyphonic motets copied in late medieval manuscripts in mensural notation. Coding of the editor prototype began in January 2020, and a workshop directly before the 2020 Music Encoding Conference evaluated the prototype in terms of its interface and design, accessibility, and interoperability, and advised on a plan for the project's full implementation. This poster includes links to videos that outline the main functionality of the prototype and a summary of the project goals, impact, and next stages of edevelopment.},\n author = {Desmond, Karen and Hankinson, Andrew and Pugin, Laurent and Regimbal, Juliette and Sapp, Craig Stuart and Thomae, Martha E.},\n title = {{Next Steps for Measuring Polyphony -- A Prototype Editor for Encoding Mensural Music [Poster]}},\n pages = {121--124},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/5k88-9z02},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n%%% --------------------------------\n%%% MEC 2020 Proceedings: Keynote II\n\n\n
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\n This poster presents an NEH-funded project to develop a prototype editor for encoding mensural notation (PI: Karen Desmond, Brandeis University). It builds on the Measuring Polyphony project (measuringpolyphony.org), a website that presents digitisations of polyphonic motets copied in late medieval manuscripts in mensural notation. Coding of the editor prototype began in January 2020, and a workshop directly before the 2020 Music Encoding Conference evaluated the prototype in terms of its interface and design, accessibility, and interoperability, and advised on a plan for the project's full implementation. This poster includes links to videos that outline the main functionality of the prototype and a summary of the project goals, impact, and next stages of edevelopment.\n
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\n\n \n \n Joubert, E.\n\n\n \n \n \n \n Traversing Eighteenth-Century Networks of Operatic Fame.\n \n \n \n\n\n \n\n\n\n In De Luca, E.; and Flanders, J., editor(s),
Music Encoding Conference Proceedings 2020, pages 125–137, 2020. Humanities Commons\n
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Keynote II.\n\n
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@inproceedings{Joubert_2020,\n abstract = {This paper employs a digital project entitled "Visualizing Operatic Fame" to delve into three major issues in graph theory and network science: searching and pathfinding, influencers and hubs, and clusters and communities.},\n author = {Joubert, Estelle},\n title = {{Traversing Eighteenth-Century Networks of Operatic Fame}},\n pages = {125--137},\n publisher = {{Humanities Commons}},\n editor = {{De Luca}, Elsa and Flanders, Julia},\n booktitle = {{Music Encoding Conference Proceedings 2020}},\n year = {2020},\n doi = {10.17613/6yhy-a027},\n bibbase_note = {<span style="color: green; font-weight: bold">Keynote II.</span>},\n keywords = {mec-proceedings, mec-proceedings-2020},\n displayby = {Contributions from MEC 2020}\n}\n\n\n\n%%% -------------------------------------\n%%% MEC 2021 Proceedings: Full volume\n\n\n
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\n This paper employs a digital project entitled \"Visualizing Operatic Fame\" to delve into three major issues in graph theory and network science: searching and pathfinding, influencers and hubs, and clusters and communities.\n
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