text:
%%% ------------------------------------------
%%% MEC 2013 and 2014 Proceedings: Full volume

@proceedings{Roland_2016a,
 abstract = {Conference proceedings of the Music Encoding Conferences 2013 and 2014 with Foreword by Perry D. Roland and Johannes Kepper},
 year = {2016},
 title = {{Music Encoding Conference Proceedings 2013 and 2014}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 bibbase_note = {Full volume.},
 keywords = {mec-proceedings, mec-proceedings-2013, mec-proceedings-2014},
 displayby = {Common part MEC 2013--2014}
}

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%%% MEC 2013 and 2014 Proceedings: Foreword

@inproceedings{Roland_2016b,
 abstract = {Foreword of the Music Encoding Conference 2013 and 2014 proceedings.},
 author = {Roland, Perry and Kepper, Johannes},
 title = {{Foreword}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {1},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013, mec-proceedings-2014},
 displayby = {Common part MEC 2013--2014}
}

%%% ------------------------------------------------------
%%% MEC 2013 and 2014 Proceedings: Contributions from 2013

@inproceedings{Bohl_2016,
 abstract = {Tracing back theoretical discussion and writing about the nature of music, leads as far as classical antiquity. Pythagoras (of Samos) laid out the mathematical foundations of musical harmony -- and hence constituted the tradition of more than 2.500 years that we can look upon today. Ever since, knowledge on music and its theory has been accompanied by the knowledge about its history. No matter the century that you pick, the basic pythagorean derivation of musical harmony or some variant of the "legend of the hammer strokes" is omnipresent. This tradition produced a huge corpus of individual treatises that provide rules for composing  music. Different eras and genres called for different rules and not seldom, personal preference and self-display were motors to pen down a certain theory of music. Moreover, notorious treatises got transcribed, reproduced me-chanically or borrowed from and -- as consciousness of authorship and copyright had yet to prosper -- partly incorporated into other treatises, without referencing the original author. Beside the amount of pages to grasp in various languages, the above mentioned circumstances make it es-pecially hard for the uninitiated to know which rule to find where or even to fathom the multiple interrelations between these treatises},
 author = {Bohl, Benjamin W.},
 title = {{Fingerprinting the Rule: Towards Interconnecting Music Treatises by Means of an Encoding Scheme for Compositional Rules}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {4--10},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Diet_2016,
 abstract = {The RISM-OPAC (http://opac.rism.info) is a free online catalogue that provides access to the data of the RISM series A II (music manuscripts between 1600 and 1800). It has been developed by the Bavarian State Library in cooperation with RISM and the State Library of Berlin and was launched in June 2010. In March 2011, a new version of the RISM-OPAC has been released that includes a searching possibility in the music incipits of the RISM data. Most of the 850.000 data records (as of September 2013) contain one or several music incipits that describe the beginning of instrumental or vocal parts of the music manuscripts using the Plaine{\&}Easie code. This paper describes how the music incipits are encoded in Plaine{\&}Easie and how the searching for music incipits is done in the RISM-OPAC. Furthermore, the rendering of an incipit encoded in Plaine{\&}Easie in a graphical image will be covered. When a RISM-record is displayed the user will not see the Plaine{\&}Easie code but the corresponding graphical form using the common western music notation. Finally, the current developments for the next version of the RISM-OPAC will be explained that include among others an improved user interface for searching in the music incipits and the conversion of the data records of the RISM series A/II into RDF in order to publish them as linked open data.},
 author = {Diet, J{\"u}rgen and Gerritsen, Magda},
 title = {{Encoding, Searching, and Displaying of Music Incipits in the RISM-OPAC}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {11--14},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Freedman_2016,
 abstract = {Our work with 16th-century polyphony uses MEI encodings to deliver dynamic renderings of analytic observations as musical notation in any internet browser. The interface allows users to perform faceted searches among thousands of analytic observations about the repertory, collecting them as part of a larger project that aims to reconstruct missing voice parts according to stylistic rules observed elsewhere in the corpus and in theoretical writings of the sixteenth century. This poster will explain our workflow, documents the technologies deployed in relation to MEI, and shows some of the musical insights we have gleaned.},
 author = {Freedman, Richard and Hankinson, Andrew and Viglianti, Raffaele and Besson, Vincent},
 title = {{Recovering Lost Voices: A Digital Workshop for the Restoration of Renaissance Polyphony}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {15--16},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Richts_2016,
 abstract = {The Music Encoding Initiative's (MEI) XML schema recommendation not only supports detailed encodings of music notation; it also accommodates comprehensive metadata in the file header. The attempt to utilize the header for cataloguing projects has proved the need to distinguish different levels of description: Some meta-data relate to the musical work in general, some only to a certain version, or to a specific musical source, for instance. The Functional Requirements for Bibliographic Records (FRBR) model, which was developed by the International Federation of Library Associations and Institutions (IFLA), was explicitly conceived to provide a concept for this distinction within bibliographic records in general. An effort has been made within the MEI community to implement the so-called FRBR Group 1 entities (work, expression, manifestation, and item) and relationships in the MEI header. The paper gives an introduction to the FRBR implementation in MEI and demonstrates how relatively com-plex source situations can be modeled with it. Some limitations and problems are discussed.},
 author = {Richts, Kristina and {Teich Geertinger}, Axel},
 title = {{Implementing the Functional Requirements for Bibliographic Records (FRBR) Model in MEI}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {17--26},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Hartwig_2016,
 abstract = {This paper documents the steps of a work process used in the creation of a group of example MEI files, one of the main objectives of the project \textit{Digital Music Notation Data Model and Prototype Delivery System} (jointly funded by the DFG and NEH from 2010 to 2013.) This paper describes the need, the workflow, and future objectives for the MEI sample collection.},
 author = {Hartwig, Maja and Richts, Kristina},
 title = {{The MEI Sample Collection: A Description of Workflows}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {27--32},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Ludovico_2016,
 abstract = {IEEE 1599 is an XML-based format conceived for a comprehensive representation of music material within a unique document. In a single le it is possible to represent music symbols, graphical scores, audio and video renderings,  catalogue  metadata,  structural  information,  computer  performances,  and  much  more.  All  data  and metadata are synchronized thanks to the concept of spine. IEEE 1599 became an international standard in 2008. On the other hand, the Music Encoding Initiative (MEI) is a community-driven eort to create a com-monly-accepted, digital, symbolic representation of music notation documents. The purpose of this paper is discussing the integration of MEI and IEEE 1599 approaches, each one presenting its own peculiarities, in order to couple the precise notation of the former with the multimedia versatility of the latter},
 author = {Ludovico, Luco A.},
 title = {{The Music Encoding Initiative and the IEEE 1599 Standard: Towards an Integrated Description of Music Contents}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {33--40},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Meredith_2016,
 abstract = {A computational approach to music analysis is presented, based on the compression of point-set representations of musical works. The approach relates closely to the theory of Kolmogorov complexity and to psychological coding theories of perceptual organisation. A sketch of a model of musical learning based on this approach is given and it is shown how the model accounts in principle for differences between individuals in how pieces of music are understood. The approach is implemented in a greedy compression algorithm, called COSIATEC, which partitions a point-set into the covered sets of translational equivalence classes of maximal translatable patterns. The analyses generated by COSIATEC on five fugues by J. S. Bach are presented and discussed. These analyses demonstrate the potential of the approach for automatically discovering musical patterns of thematic and structural importance.},
 author = {Meredith, David},
 title = {{Analysis by Compression: Automatic Generation of Compact Geometric Encodings of Musical Objects}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {41--53},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Rizo_2016,
 abstract = {\textit{Plaine and Easie Code} is being used as the format for encoding musical content in the RISM catalogue. In this paper we propose an attributed grammar that formally specifies it. The grammar specification is written using a EBNF notation and is accompanied by syntax diagrams and some examples that show how it parses a valid input. With the formalization of the \textit{Plaine and Easie Code}, it is easier to create translators to other formats, analyze possible extensions, and avoid syntactic misunderstandings in the encoding process. The proposed grammar has been successfully used to decode more than one million incipits from the RISM catalogue in an automatic way. In the near future, we are planning to propose some extensions to the PAEC code and specify translation semantic actions associated to the grammar productions in order to convert from PAEC to the MEI format.},
 author = {Rizo, David and I{\~n}esta, Jos{\'e} M.},
 title = {{A Grammar for \textit{Plaine and Easie Code}}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {54--64},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Herold_2016,
 abstract = {Being famous not only for his opere \textit{buffe}, but also for his \textit{opere serie}, Giuseppe Sarti was one of the most eminent composers in late 18th century Europe. In this paper, the first steps of two MEI based \textit{Edirom} editions of Sarti's operas -- of \textit{Giulio Sabino} and \textit{Fra i due litiganti il terzo gode} -- are discussed. The prepared editions do not aim to provide a definite or "authentic" text, but will focus on the adaptations characterizing Italian operas of the period, with the intention to show different types of variants and a wide range of arrangements.},
 author = {Herold, Kristin and Siegert, Christine},
 title = {{The Encoding of Sarti's Operas: Macro and Micro Structures}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {65--70},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Thalmann_2016,
 abstract = {This paper presents a generalized version of the BigBang rubette, a module for the music software Rubato Composer. It now allows for visualization, generation, and transformation of arbitrary musical data, as long as the data is defined in the denotator format, which models mathematical spaces based on the category of modules. While in earlier stages of development, BigBang was created to deal with the MIDI-like forms \textit{Score}, \textit{MacroScore}, and \textit{SoundScore}, it will now accept any kind of denotators, which enables composers to work with their own objects such as chords, progressions, FM sounds, metrical patterns, counterpoint, pitch-classes, sound spectra, etc.},
 author = {Thalmann, Florian and Mazzola, Guerino},
 title = {{Visualization and Transformation: In General Musical and Music-Theoretical Spaces}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {71--80},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Viglianti_2016a,
 abstract = {The \textit{Freisch{\"u}tz Digital project} uses MEI to encode multiple source in Common Music Notation (CMN). The project avoids choosing one specific source as base text and plans to encode diplomatic details about all sources included in the edition. This paper describes how the model is designed to handle this complex situation without requiring a non-conformant customization of MEI.},
 author = {Viglianti, Raffaele},
 title = {{Modelling Complex Editions in MEI: The \textit{Freisch{\"u}tz Digital} Project}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {81--82},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Hild_2016,
 abstract = {This essay describes the development process and encoding scheme of mono:di, the MEI-based, music-notation software program of \textit{Corpus monodicum}. \textit{Corpus monodicum} is a scholarly edition of the Latin-texted, medieval monophonic repertories -- both sacred and secular -- that form the historical foundation of European music, but have thus far been under-represented in musicological scholarship. The editorial project is spon-sored by the Akademie der Wissenschaften und der Literatur, Mainz, as part of the Akademienprogramm der Union der deutschen Akademien der Wissenschaften; it is housed at the Institut f{\"u}r Musikforschung, Universit{\"a}t W{\"u}rzburg.
    Mono:di was developed in conjunction with the music typesetting firm notengrafik berlin in order to facilitate the production of \textit{Corpus monodicum}'s publications, which will include both a series of 25 printed volumes and a digital edition (CM digital). Mono:di offers the project's editors a means of creating digital transcriptions in a direct and efficient way. The software also allows for an unproblematic transfer of editorial material to the typesetters who produce the analogue editions. Moreover, mono:di allows the same encoded material to serve as the basis both for the printed volumes and for the digital edition. This paper examines the editorial practices that shaped mono:di's development and the specific adaptations that were made to the MEI neumes module in mono:di's encoding scheme.},
 author = {Hild, Elaine and Weber, Thomas},
 title = {{Developing Encoding and Software Solutions: For the Digital and Analogue Publication of Medieval Monophonic Music}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {83--90},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Lewis_2016,
 abstract = {In this panel, we present a number of approaches to the creation of music corpora, using manual and fully- and partially-automated methods, and we consider the effects these approaches have on the nature, size and data encoding of the respective collections We also explore how the process is affected by the nature of the source materials used. We illustrate the impact of these approaches for later use, such as simple web or paper publication or searching and analyzing the newly-available musical information.},
 author = {Lewis, David and Wiering, Frans},
 title = {{Practicalities of Corpus Building: Creating and Exploring Digital Data}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {91--117},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Byrd_2016,
 abstract = {Arguably the most significant work to date on integrating content-based music retrieval with high-quality Western music notation is some 12 years old: it is implemented in my Nightingale program for the Macintosh computer. I describe how MEI-encoded scores can be converted into a form Nightingale can open, and discuss some of Nightingale's music-searching features.},
 author = {Byrd, Donald},
 title = {{High-Quality Notation: To Display and Search Music Encoded in MEI}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {118--121},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{TeichGeertinger_2016,
 abstract = {The poster is intended to demonstrate that the MEI (Music Encoding Initiative) metadata section allows the description of musical works, including their history and sources, in such detail that it can serve as the basis for entire thematic catalogues or to collect source information for use with scholarly editions of music.The Danish Centre for Music Publication (DCM) is developing a web-based tool to facilitate capturing, editing, storing, and reviewing music metadata, called MerMEId (Metadata Editor and Repository for MEI Data). The main focus of the poster is to present the software including its architecture and user interface. The poster also outlines the results so far.},
 author = {{Teich Geertinger}, Axel and Lundberg, Sigfrid},
 title = {{MerMEId: Creating Thematic Catalogues Using MEI Metadata}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {122--126},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Meier_2016,
 abstract = {We present an approach that uses \textit{human computation} and \textit{crowdsourcing} principles for encoding large amounts of monophonic, handwritten sheet music.},
 author = {Meier, Florian and Burghardt, Manuel and Bazo, Alexander and Wolff, Christian},
 title = {{A Crowdsourced Encoding Approach for Handwritten Sheet Music}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {127--130},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

@inproceedings{Besson_2016,
 abstract = {Consortium "Musica" combines several units and research teams around a common theme -- the development and exploitation of digital music -- using common standards and supporting the dissemination of good practices and supports the conversion of information into digital form. The Consortium is accredited by the TGIR (Very High Research Infrastructure) Huma-Num aimed at facilitating digital turning points in humanities and social science research.},
 author = {Besson, Vincent},
 title = {{Musica: A Musical \textit{Consortium} of Digital Humanities}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {131--133},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2013},
 displayby = {Contributions from MEC 2013}
}

%%% ------------------------------------------------------
%%% MEC 2013 and 2014 Proceedings: Contributions from 2014

@inproceedings{Pugin_2016,
 abstract = {The Music Encoding Initiative defines the specifications of encoding music in XML format. While MEI is extremely powerful and promising, very few tools exist for rendering it directly into graphical music notation. Most of the solutions currently used require an intermediate step to convert it into a format that can then be processed by one existing music typesetter. This approach has the disadvantage of being complex, often slow, and needing to rely on other tools for the task, whilst losing some of MEI's features in the conversion process. Verovio is an attempt to solve this issue: it is a portable, small and fast library that is capable of interpreting MEI directly to SVG music output, without intermediate steps. Its development focuses on compatibility with the MEI specification and also on making portable code that is easily employed in different environments, from rendering of small-scale incipit to rendering long multi-page scores. The paper presents some use-case scenarios for the Verovio library.},
 author = {Pugin, Laurent and Zitellini, Rodolfo},
 title = {{Verovio: A Library for Typesetting MEI}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {136--141},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2014},
 displayby = {Contributions from MEC 2014}
}

@inproceedings{Beer_2016,
 abstract = {This paper presents the final status of the MEI Score Editor (MEISE) by the end of the first funding phase of DARIAH-DE in February 2014, by presenting exemplary use cases facilitating MEISE in different research projects. Experiences done by these projects build the basis for future improvements and developments of MEISE during the second funding phase of DARIAH-DE, starting in March 2014. Beside the disposal of current technical boundaries the ongoing development will then focus on understanding MEI encoding principles arising from the field of scholarly edition as encoded non-verbal annotations and its visualization.},
 author = {Beer, Nikolaos and Hartwig, Maja and Herold, Kristin},
 title = {{The MEI Score Editor: Use Cases and Future Perspectives}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {142--146},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2014},
 displayby = {Contributions from MEC 2014}
}

@inproceedings{Bemman_2016,
 abstract = {In recent years, a significant body of research has focused on developing algorithms for computing analyses of musical works automatically from encodings of these works' surfaces [3,4,7,10,11]. The quality of the output of such analysis algorithms is typically evaluated by comparing it with a "ground truth" analysis of the same music produced by a human expert (see, in particular, [5]).

 In this paper, we explore the problem of generating an encoding of the musical surface of a work automatically from a systematic encoding of an analysis. The ability to do this depends on one having an effective (i.e., computable), correct and complete description of some aspect of the structure of the music. Generating the surface structure of a piece from an analysis in this manner serves as a proof of the analysis' correctness, effectiveness and completeness.

 We present a reductive analysis of \textit{Sheer Pluck} (1984), a twelve-tone composition for guitar by Milton Babbitt (1916--2011). This analysis focuses on the all-partition array structure on which the piece is based. Having presented this analysis, we formalize some constraints on the structure of the piece and explore some computational difficulties in automating the generation of the all-partition array structure},
 author = {Bemman, Brian M. and Meredith, David},
 title = {{From Analysis to Surface: Generating the Surface of Milton Babbitt's \textit{Sheer Pluck} from a Parsimonious Encoding of an Analysis of its Pitch Class Structure}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {147--152},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2014},
 displayby = {Contributions from MEC 2014}
}

@inproceedings{Kjellberg_2016,
 abstract = {The \textit{best text method} is commonly applied among music scholars engaged in producing critical editions. In this method, a comment list is compiled, consisting of variant readings and editorial emendations. This list is maintained by inserting the comments into a document as the changes are made. Since the comments are not input sequentially, with regard to position, but in arbitrary order, this list must be sorted by copy/pasting the rows into place -- an error-prone and time-consuming process. Scholars who produce critical editions typically use off -the-shelf music notation software such as Sibelius or Finale. It was hypothesized that it would be possible to develop a Sibelius plug-in, written in Manuscript 6, that would improve the critical editing work fl ow, but it was found that the capabilities of this scripting language were insufficient. Instead, a 3-part system was designed and built, consisting of a Sibelius plug-in, a cross-platform application, called CriticalEd, and a REST-based solution, which handles data storage/retrieval. A prototype has been tested at the Danish Centre for Music Publication, and the results suggest that the system could greatly improve the efficiency of the critical editing work flow.},
 author = {Kjellberg, Caspar M. and {Teich Geertinger}, Axel and Lundberg, Sigfrid and Meredith, David},
 title = {{CriticalEd: A Tool for Assisting with the Creation of Critical Commentaries}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {153--158},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2014},
 displayby = {Contributions from MEC 2014}
}

@inproceedings{Shanahan_2016a,
 abstract = {This study discusses the nature of stylistic change through the examination of more than 27,500 incipits taken from the R{\'e}pertoire International des Sources Musicales (RISM) project. It re-examines the hypotheses set forth by both Morrow [6] that Germanic melodic composition began to become more differentiated in the 1760s and 1770s, as the Italianate style began to be less associated with "serious" music by German critics. Daniele and Patel [2] used the Barlow and Morgenstern dataset [1] to examine this from a computational perspective, and this paper seeks to replicate these findings with the much larger RISM corpus.},
 author = {Shanahan, Daniel and Bell, Eamonn},
 title = {{Re-Examining National Influences and Stylistic Shifts with the RISM Dataset}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {159--161},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2014},
 displayby = {Contributions from MEC 2014}
}

@inproceedings{Kepper_2016,
 abstract = {In music, scholarly editing has a tradition of more than 160 years. The Bach Gesamtausgabe (BGA), published between 1851 and 1904, was the first complete works edition committed to scholarly principles. While other editions followed their example quite soon, the BGA was always one of the most advanced editions, continuously refining both the concepts and the techniques of scholarly editing. With very few exceptions, all printed scholarly editions up to now conform to the general model established by the BGA. In order to understand our current situation on the verge of digital editions, it is helpful to recall the situation in the second half of the 19th century, which in many ways is quite similar to ours.},
 author = {Kepper, Johannes},
 title = {{The Impact of the Digital: How Digital Editions Will Change Editing Itself, and What Can Be Learned From the History of Editing}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {162--167},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2014},
 displayby = {Contributions from MEC 2014}
}

@inproceedings{Shanahan_2016b,
 abstract = {When examining possible geographical effects in music, one must be vigilant of a number of possible confounds presented by the datasets that are currently available. Some provide a great deal of data, but are often limited in geographic scope, and the provenance of the transcriptions is in doubt. Additionally, composition dates are sometimes apocryphal, and can span centuries. Ideally, a dataset would allow researchers to examine folksongs from a large geographic area in a way that would minimize these issues, as well as other issues. This paper presents the completion of the encoding of the collected transcriptions of Frances Densmore's fieldwork on Native American groups in North America. This dataset, known as the Densmore Collection, is now available in the Humdrum, MusicXML, and MEI formats, and will ideally facilitate research in the fields of musical style change, music and language, and the transmission of folk songs, as well as broader anthropological topics.},
 author = {Shanahan, Daniel and Shanahan, Eva},
 title = {{Revisiting the Densmore Collection: Completing a Collection of Native American Transcriptions}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {168--171},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2014},
 displayby = {Contributions from MEC 2014}
}

@inproceedings{Viglianti_2016b,
 abstract = {This paper introduces \textit{MEItoVexFlow}, a JavaScript library that parses and renders Common Music Notation (CMN) in the browser using HTML5 technologies. After a first prototype, the library has been extended over a three month project supported by the Google Summer of Code programme. It is currently being integrated into a number of research projects. After introducing the tool and its features, we discuss the challenges of creating a generic MEI rendering tool and how One Document Does-it-all (ODD), a literate programming format for generating documentation and schemata (see Viglianti [4] and Hankinson \textit{et al.} [1]), can define an application profile.},
 author = {Viglianti, Raffaele and Kőm{\'i}ves, Zolt{\'a}n and Lewis, Richard},
 title = {{Rendering MEI in the Browser: \textit{MEItoVexFlow} and Application Profiling}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {172--175},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2014},
 displayby = {Contributions from MEC 2014}
}

@inproceedings{Viglianti_2016c,
 abstract = {Addressing music notation segments is central to many kinds of musicological discourse; references vary in scope and precision, such as "the measures two and three" or a more generic "the timpani in the opening bars of the Overture". Prompted the growing number of digitized music scores, this paper seeks to answer such questions as (1) how can one virtually 'circle' music notation? and (2) how can a machine interpret this 'circling' to retrieve music notation?},
 author = {Viglianti, Raffaele},
 title = {{Music Notation Addressability}},
 url_URN = {https://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812},
 pages = {176--178},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {Roland, Perry and Kepper, Johannes},
 booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}},
 year = {2016},
 keywords = {mec-proceedings, mec-proceedings-2014},
 displayby = {Contributions from MEC 2014}
}

%%% ------------------------------------------------
%%% MEC 2015, 2016 and 2017 Proceedings: Full volume

@proceedings{DiBacco_2019a,
 abstract = {Conference proceedings of the Music Encoding Conferences 2015, 2016 and 2017 with Introduction by Giuliano Di Bacco},
 year = {2019},
 title = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 url = {https://www.musiconn.de/metaopac/search?id=BV045900855&View=mus},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 doi = {10.15463/music-1},
 bibbase_note = {Full volume.},
 keywords = {mec-proceedings, mec-proceedings-2015, mec-proceedings-2016, mec-proceedings-2017},
 displayby = {Common part MEC 2015--2017}
}

%%% -------------------------------------------------
%%% MEC 2015, 2016 and 2017 Proceedings: Introduction

@inproceedings{DiBacco_2019b,
 abstract = {Introduction of the Music Encoding Conference 2015, 2016 and 2017 proceedings.},
 author = {{Di Bacco}, Giuliano},
 title = {{Introduction}},
 pages = {1--3},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2015, mec-proceedings-2016, mec-proceedings-2017},
 displayby = {Common part MEC 2015--2017}
}

%%% ---------------------------------------------------------------
%%% MEC 2015, 2016 and 2017 Proceedings: Contributions from MEC 2015

@inproceedings{Dubowy_2019,
 abstract = {The \textit{Digital Mozart Edition} (DME) has as its goal the digital presentation of documents and texts related to Mozart's life and oeuvre. The most challenging project within the DME is the digital edition of Mozart's music which is currently being developed. It will eventually make the complete compositional output of Mozart available to the public in critical, MEI based editions. The DME already hosts the \textit{NMA Online}, the representation in digital images of the \textit{Neue Mozart Ausgabe} (NMA) print edition, originally published between 1954 and 2007. While on the one hand, the DME seeks to transform the authoritative musical text of the NMA into digital format, the DME also intends to broaden the philological concept by the publication of new and alternative editions based on individual sources. At the present state of the project, several challenges have been identified, some connected to the publication history and the availability of sources used by the NMA. Others are related to the representation of the \textit{Kritische Berichte} of the NMA within the DME. The paper reports on the development of the conceptual as well as practical model of the DME music edition.},
 author = {Dubowy, Norbert},
 title = {{Encoding the NMA in the Digital Mozart Edition: A Progress Report}},
 pages = {7--13},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2015},
 displayby = {Contributions from MEC 2015}
}

@inproceedings{Stinson_2019,
 abstract = {This paper illustrates opportunities for revising the current Chant and Mensural modules of the Music Encoding Initiative for encoding music notation from before c.1500. Repurposing data collected over the last three decades in Scribe music encoding software required a bespoke MEI module, which we have called NeoScribe. The Scribe project has benefited from the long-term investigation and implementation of methods for the efficient encoding of late medieval music notation. With Scribe, users are able to represent every meaningful scribal mark on the written page, something that is not currently possible in the current MEI Chant and Mensural modules. In converting Scribe data to a MEI-compliant XML, we recognised the need to retain Scribe's nuance-rich encoding of medieval musical notation. For zero dataloss, new elements and data types were added to MEI for encoding late medieval chant and mensural notation. We demonstrate some of NeoScribe's enhanced features for encoding 14th-century repertoires. We conclude by discussing some of the benefits of revising the MEI Chant and Mensural modules for projects investigating music from before c.1500.},
 author = {Stinson, John A. and Stoessel, Jason},
 title = {{Revising MEI for Research on late Medieval Manuscripts}},
 pages = {15--24},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2015},
 displayby = {Contributions from MEC 2015}
}

@inproceedings{DiBacco_2019c,
 abstract = {This paper stems from the project of redevelopment of the \textit{Thesaurus Musicarum Latinarum} (TML), the online searchable archive of early music treatises in Latin. Over 25 years after the project's inception, work is in progress to enrich the large corpus of plain-text files by encoding them with TEI, to improve the resource's fruition and the discoverability of the text. Over that background, a quite more difficult challenge emerges: to make also discoverable the large quantity of notated examples found interleaved with the verbal text of the treatises. It was not in the original intent to make music notation systematically searchable, but attempts were made to capture some facets of mensura notation through a code specifically designed for the project. The aim of this paper is both to discuss these earlier encoding attempts, with their shortcomings, and to propose our customization of MEI as a possible starting point to expand the current specifications. This is proving useful in the present state of the project: more work will be necessary to take care of other mensural features and flavors, and of course of chant and non-mensural notations, but MEI is proving apt to the job. The TML provides an ideal benchmark for developing a more specialized model of markup that will be useful for many other scholarly purposes. (The transcript below reflects the status of the TML project and of MEI at the time of the conference.)},
 author = {{Di Bacco}, Giuliano and Roland, Perry},
 title = {{MEI for Mensural Notation in the Thesaurus Musicarum Latinarum}},
 pages = {25--35},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2015},
 displayby = {Contributions from MEC 2015}
}

@inproceedings{Saenger_2019,
 abstract = {This paper describes a model for genetic criticism in MEI, which takes slightly different approaches than the corresponding module in TEI.},
 author = {S{\"a}nger, Richard and Kepper, Johannes},
 title = {{Encoding Genetical Processes}},
 pages = {37--44},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2015},
 displayby = {Contributions from MEC 2015}
}

@inproceedings{Horwitz_2019,
 abstract = {This paper presents a web-based XML editor tailored for use with MEI. This editor provides an interface for synchronizing text edits with changes from a graphical editor. While initially developed to facilitate editing the results of optical music recognition, the editor is built to interface with other graphical editors. Various features such as loading multiple files at the same time, saving to the user's computer, and validation are also built in.},
 author = {Horwitz, Andrew and Hankinson, Andrew and Fujinaga, Ichiro},
 title = {{A Browser-Based MEI Editor}},
 pages = {45--46},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2015},
 displayby = {Contributions from MEC 2015}
}

@inproceedings{Viglianti_2019,
 abstract = {Enhancing Music Notation Addressability (EMA) is a one-year project that investigates methods for addressing arbitrary portions of encoded music notation on the web. By "addressing" we mean being able to refer to, or cite, a passage of music in order to make a statement about it. This could be considered a virtual equivalent of "circling" some music notation on a printed score. The technical specification created by the EMA project are described below. The specification aims at defining a scheme for addressing a selection of music notation regardless of its representation. The expression is based on simple units that are commonly represented by music notation systems for common Western music notation, such as measure, staff, and beat. The expression is formulated as a URL, which makes it possible to target resources on the web.},
 author = {Viglianti, Raffaele},
 title = {{A Specification for Addressing Encoded Music on the Web}},
 pages = {47--49},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2015},
 displayby = {Contributions from MEC 2015}
}

%%% ----------------------------------------------------------------
%%% MEC 2015, 2016 and 2017 Proceedings: Contributions from MEC 2016

@inproceedings{Kraemer_2019,
 abstract = {Computational Music Analysis Platforms (or CMAPs for short) in general parse music data and transcode the data to an internal format in order to process the acquired data. We call the internal format an intermediate format, because it acts within a software architecture as an intermediary between input and output of a given CMAP's workflow. The paper examines three different types of intermediate formats, one historical, and two currently in use, as they occur in CMAPs, and posits how these intermediate formats influence the analytical process and thought.},
 author = {Kr{\"a}mer, Reiner},
 title = {{On Intermediate Formats}},
 pages = {53--61},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2016},
 displayby = {Contributions from MEC 2016}
}

@inproceedings{Shaw_2019,
 abstract = {The \textit{Wolfenb{\"u}ttel Lute Tablature} (c. 1460) consists of two fragmented folios with intabulations for five secular songs and is the only extant source of a notation system described theoretically in \textit{Kassel Lautenkragen}. The notation, named the Kassel-Wolfenb{\"u}ttel Tablature System (KWTS) by Marc Lewon, combines a quasi- mensural notation, which closely resembles the upper voice of organ tablature, and an alphabetic notation, parallel to organ tablature. Because of its connections to both tablature and mensural notations, in order to encode KWTS, one must combine the encoding systems for both tablature and mensural notation. In this paper, I examine some of the problems inherent in encoding KWTS; suggest possible solutions; and define a musicological application for the project. As the earliest lute-specific notation, KWTS contains valuable information on the changing lute performance practices of the mid-fifteenth century, despite the sources' brevity. Developing an encoding system for this notation will enable further exploration of fifteenth-century lute repertoire, including that prior to lute-specific notation.},
 author = {Shaw, Rebecca A.},
 title = {{The Kassel-Wolfenb{\"u}ttel Tablature System: A Convergence of Lute Tablature and Mensural Notation}},
 pages = {63--71},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2016},
 displayby = {Contributions from MEC 2016}
}

@inproceedings{Swanson_2019,
 abstract = {Entering metadata for medieval chants in the Cantus Database often poses challenges for the indexer. Although many of the chants follow the standard, expected forms, some items are difficult to classify. For example, certain melodies do not conform to the standard modes and some chants are unique in their usage for a particular day or service within the liturgical year. Although it is easy to create new classification tags, the prudent database manager exercises caution, as the modern need to categorize does not always conform to medieval custom. By focusing on chants from Holy Week including the \textit{Exsultet}, \textit{Improperia} and \textit{Trisagion}, this paper addresses the various criteria used to create two new genre codes, "Varia" (Va) and "Holy Week Varia" (VaHW). Although these classifiers provide less specificity than other possible options, they avoid over-interpretation, are easy-to-use by novice indexers, and usefully differentiate the unique chants of Holy Week from other chant miscellany.},
 author = {Swanson, Barbara and Lacoste, Debra},
 title = {{Chants That Defy Classification: Implications of Categorization in the Cantus Database}},
 pages = {73--78},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2016},
 displayby = {Contributions from MEC 2016}
}

@inproceedings{Seipelt_2019,
 abstract = {The first performance of Weber's \textit{Freisch{\"u}tz} in Vienna took place November 3rd, 1822. A manuscript copy was bought from Weber, which closely followed the composer's autograph. But a close look to the manuscript reveals a great number of performance-related modifications of both the musical and textual content. These transformations have mostly been major ones, like deletions of whole measures or text passages, and insertions of new pages. On the basis of the BMBF-sponsored project "Freisch{\"u}tz Digital" (Digital edition of the \textit{Freisch{\"u}tz}, hereafter "FreiDi"), this paper tries to develop a way to describe the textual and physical modifications of the manuscript not only verbally but in a semantic, i.e. logic, encoding, based on MEI. For this, the paper explores possible modifications of MEI elements, or the creation of new elements and attributes for the special problems. It will explore the usefulness of markup from other projects, most importantly the \textit{Beethoven Werkstatt} project with its genetic encodings. It will also discuss the possibilities, problems and limitations of the different solutions.},
 author = {Seipelt, Agnes},
 title = {{The Freisch{\"u}tz Performance in Vienna: Encoded Representation of Performance-Related Modifications of the Score}},
 pages = {79--90},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2016},
 displayby = {Contributions from MEC 2016}
}

@inproceedings{Berndt_2019,
 abstract = {This paper introduces the Music Performance Markup format for encoding expressive performance parameters. The main focus is the general data organization in global vs. local data and header vs. dated data, illustrated by some musical examples. Moreover future work and use cases are envisioned.},
 author = {Berndt, Axel and Bohl, Benjamin W.},
 title = {{XML Music Performance Description: Reflections on and Future Developments of the Music Performance Markup Format}},
 pages = {91--94},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2016},
 displayby = {Contributions from MEC 2016}
}

@inproceedings{Kepper_2019,
 abstract = {The Freisch{\"u}tz Digital project (FreiDi) was one of the pioneer projects employing MEI in large scale. It did not only try to encode a huge quantity of music material, it also sought to capture as many aspects of the available sources as possible, effectively creating data of almost unrivaled richness. This paper discusses the outcomes of and experiences made in the FreiDi project.},
 author = {Kepper, Johannes},
 title = {{\textit{Wie? Was? Entsetzen!} Lessons Learned from the Freisch{\"u}tz Digital Project}},
 pages = {95--105},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2016},
 displayby = {Contributions from MEC 2016}
}

@inproceedings{DeLaHunt_2019,
 abstract = {Our heritage of music scores need to be delivered in 21st century packaging: the symbolic, digital score, instead of the paper-printed book. This will enable better music-making, but also new tools for using digital scores. The digital score plus the new tools will enable dramatically better music-making. Thus it is important to create a corpus of digital scores for the works in our musical heritage. A gap analysis shows that what is missing is an organization which mobilises participation and produces results, and which provides content in symbolic, digital score form, and freely licensed. Such an organization has recently begun operations: the Keyboard Philharmonic project.},
 author = {DeLaHunt, Jim},
 title = {{All Classical Music, Freely Available As Revisable Digital Scores, Via Crowdsourcing}},
 pages = {107--110},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2016},
 displayby = {Contributions from MEC 2016}
}

%%% ----------------------------------------------------------------
%%% MEC 2015, 2016 and 2017 Proceedings: Contributions from MEC 2017

@inproceedings{Lewis_2019,
 abstract = {As the number of music corpora published online increases, with many of these containing symbolic music encodings, the importance of search activities is also growing. Although it is seldom explicitly recognised as such, the act of querying these corpora is a form of research activity. Despite this, no common standards have emerged for preserving and disseminating these activities, or their results and provenance. In this paper, we discuss two examples of current search tasks -- each with a musicological motivation -- and consider what information might be preserved and communicated, and why. Capturing the method of a search, the timing of the query and the motivation for the investigation may be as important as preserving results. We show a preliminary Linked Data implementation, and consider how it can support visualisation of the results and evaluation of the methods},
 author = {Lewis, David and Page, Kevin and Hankinson, Andrew},
 title = {{Capturing Context and Provenance of Musicology Research}},
 pages = {113--118},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2017},
 displayby = {Contributions from MEC 2017}
}

@inproceedings{Plaksin_2019,
 abstract = {This paper outlines an encoding workflow for a critical edition of Ottoman music manuscripts based on the MEI schema. The encoding workflow is one aspect of a larger digital edition project entitled Corpus Musicae Ottomanicae (CMO). The paper gives a brief introduction to CMO, its scholarly goals and digital infrastructure. It offers some basic information on Ottoman music, focusing on the scholarly transcription into staff notation of manuscript sources written in Hampartsum notation. We discuss the modelling of metadata according to FRBR and MEI, and the challenges involved in adapting the source material to schema that were developed with different musical concepts and practices as their model. We describe the workarounds, tools and procedures we developed to encode Ottoman music in a way that meets both visual and semantic demands, and reflects musical as well as philological aspects of the sources. These solutions are offered as a possible first step towards integrating non-Western musical repertoires and sources into the MEI schema.},
 author = {Plaksin, Anna and Olley, Jacob},
 title = {{Creating an Encoding Workflow for a Critical Edition of Ottoman Music Manuscripts: Challenges and Solutions}},
 pages = {119--130},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2017},
 displayby = {Contributions from MEC 2017}
}

@inproceedings{Schueler_2019,
 abstract = {This paper summarizes the development of computing technology from the 1940s through the 1980s and draws parallels to its influence on the development of music encoding and music-analytical methods. The emphasis on how the developments of computing and computers influenced the development of computer-assisted music analysis (and, thus, various representations) is related to the fact that this knowledge is often absent in contemporary discussions of music encoding and of computer applications in music analysis.},
 author = {Sch{\"u}ler, Nico},
 title = {{The Development of Computing Technology and Its Influence on Music-Analytical Methods and Encoding: 1940s through 1980s}},
 pages = {131--133},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2017},
 displayby = {Contributions from MEC 2017}
}

@inproceedings{Voigt_2019,
 abstract = {This paper discusses the implementation of an infrastructure for LilyPond that allows import and export of different file formats, to connect LilyPond with the rest of the music-engraving world and make it a valuable chain link in a multi format environment.},
 author = {Voigt, Jan-Peter},
 title = {{Creating an Import and Export Infrastructure for LilyPond}},
 pages = {135--141},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2017},
 displayby = {Contributions from MEC 2017}
}

@inproceedings{Harrison_2019,
 abstract = {In this paper we offer a new corpus and a new method for how to consider musical style from a sociological perspective, by looking at the phenomenon of \textit{debussysme} in early 20th-century France. We focused on the solo piano scores of the "Apaches" subset of potential \textit{debussystes}, comparing them to a randomly selected control group of their peers. Due to the challenge of manually correcting these complex scores, we experimented with leaving the errors generated during the OMR process uncorrected in our MEI files, planning to correct them progressively in later stages of hypothesis testing. We then validated the error level and successfully analyzed nearly all of the scores for parallel 5ths and meter changes using customized MEI search programs. Even when taking the estimated error levels into account, a statistically significant difference was discovered between the Apaches and control groups. In addition to presenting these initial findings, our description of the methodological challenges of encoding and analyzing these complex scores might serve as a model for how to deploy a multi-hypothesis corpus study involving difficult scores over several, more manageable steps.},
 author = {Harrison, Jane and Khalid, Farhan},
 title = {{Introducing a Corpus of French Compositions for Exploring Social Interaction and Musical Change}},
 pages = {143--150},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2017},
 displayby = {Contributions from MEC 2017}
}

@inproceedings{Chen_2019,
 abstract = {We wish to introduce a toolbox that transforms handwritten mensural notation as found in 16th-century music manuscripts into modern music notation. To the best of our knowledge, this is the first such toolbox that can deal with the whole pipeline from symbol recognition to transcription. Along with the toolbox, we present our solution to the problem of ligature recognition, transcription, and encoding, which has remained an obstacle in previous mensural Optical Music Recognition (OMR) systems. We propose a visual encoding method as a reference to recognize and describe ligatures, then transform them to modern notation according to the time signature. Given an image as input, our toolbox recognizes the contents, transcribes them into modern musical notation, and encodes the result in a MusicXML file, with MEI support under development. Availability of the encoding enables further processing with third party tools.},
 author = {Chen, Xuanli and Huang, Yu-Hui and Beck, Serafina and Timofte, Radu and Burn, David and {van Gool}, Luc},
 title = {{TAMIR: A Toolbox for Recognition and Transcription of Music Manuscripts in Mensural Notation}},
 pages = {151--152},
 publisher = {{Bavarian State Library (BSB)}},
 editor = {{Di Bacco}, Giuliano and Kepper, Johannes and Roland, Perry},
 booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}},
 year = {2019},
 doi = {10.15463/music-1},
 keywords = {mec-proceedings, mec-proceedings-2017},
 displayby = {Contributions from MEC 2017}
}

%%% -------------------------------------
%%% MEC 2020 Proceedings: Full volume

@proceedings{DeLuca_2020,
 abstract = {Conference proceedings of the Music Encoding Conference 2020 with Foreword by Richard Freedman and Anna J. Kijas},
 year = {2020},
 title = {{Music Encoding Conference Proceedings 2020}},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 doi = {10.17613/mvxw-x477},
 bibbase_note = {Full volume.},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Common part MEC 2020}
}

%%% ------------------------------
%%% MEC 2020 Proceedings: Foreword

@inproceedings{Freedman_2020,
 abstract = {Foreword of the Music Encoding Conference 2020 proceedings.},
 author = {Freedman, Richard and Kijas, Anna J.},
 title = {{Foreword}},
 pages = {1},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Common part MEC 2020}
}

%%% -------------------------------
%%% MEC 2020 Proceedings: Keynote I

@inproceedings{Duguid_2020,
 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.},
 author = {Duguid, Timothy},
 title = {{The Forgotten Classroom? Bringing Music Encoding to a New Generation}},
 pages = {3--14},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/fbqn-s474},
 bibbase_note = {Keynote I.},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

%%% ------------------------------
%%% MEC 2020 Proceedings: Articles

@inproceedings{Regimbal_2020,
 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},
 author = {Regimbal, Juliette and Vigliensoni, Gabriel and Hutnyk, Caitlin and Fujinaga, Ichiro},
 title = {{IIIF-Based Lyric and Neume Editor for Square-Notation Manuscripts}},
 pages = {15--18},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/d41w-n008},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Thomae_2020,
 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.},
 author = {Thomae, Martha E. and R{\'i}os-Vila, Antonio and Calvo-Zaragoza, Jorge and Rizo, David and I{\~n}esta, Jos{\'e} M.},
 title = {{Retrieving Music Semantics from Optical Music Recognition by Machine Translation}},
 pages = {19--24},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/605z-nt78},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Ricciardi_2020,
 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.},
 author = {Ricciardi, Emiliano and Sapp, Craig Stuart},
 title = {{Editing Italian Madrigals in the Digital World: The Tasso in Music Project}},
 pages = {25--40},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/17a5-2b65},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Pfeffer_2020,
 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.},
 author = {Pfeffer, Niels and Rettinghaus, Klaus},
 title = {{Probst{\"u}cke Digital -- A Critical Digital Edition of Johann Mattheson's 24 Probst{\"u}cke of the Ober-Classe}},
 pages = {41--46},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/r8pk-6e15},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Saccomano_2020,
 abstract = {While the increase in digital editions, online corpora, and browsable databases of encoded music presents an extraordinary resource for contemporary music scholarship, using these databases for computational research remains a complex endeavor. Although norms and standards have begun to emerge, and interoperability among different formats is often possible, researchers must devote considerable time to discover, learn, and maintain the skill sets necessary to make use of these resources. This talk will discuss our work with the Serge Prokofiev Archive and the creation of a prototype to browse, display, and play notated music from Prokofiev's notebooks via a web browser. The project is an example of how using the principles of minimal computing can reduce the burden of technological expertise required to both disseminate and access encoded music.},
 author = {Saccomano, Mark and Ermolaev, Natalia},
 title = {{MEI and Verovio for MIR: A Minimal Computing Approach}},
 pages = {47--50},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/9xav-q378},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{M.Weigl_2020,
 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.},
 author = {{M. Weigl}, David and Goebl, Werner},
 title = {{Rehearsal Encodings with a Social Life}},
 pages = {51--53},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/5ae5-8387},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Lehrman_2020,
 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.},
 author = {Lehrman, Paul D.},
 title = {{MIDI 2.0: Promises and Challenges}},
 pages = {55--58},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/652c-4540},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Herold_2020,
 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.},
 author = {Herold, Kristin and Kepper, Johannes and Mo, Ran and Seipelt, Agnes},
 title = {{MusicDiff -- A Diff Tool for MEI}},
 pages = {59--66},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/ydbv-e158},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Obert_2020,
 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.},
 author = {Obert, Salome},
 title = {{\textit{Beethovens Werkstatt} on the Test Bench}},
 pages = {67--70},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/j9rm-fa25},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Ju_2020,
 abstract = {The computational study of figured bass remains an under-researched topic, likely due to the lack of machine- readable datasets. This paper is intended to address the paucity of digital figured bass data by 1) investigating procedures for systematically annotating symbolic music files with figured bass, and 2) producing and releasing a model annotated dataset as an illustration of how these procedures can be applied in practice. We introduce the Bach Chorales Figured Bass dataset, which includes 103 chorales composed by Johann Sebastian Bach that includes both the original music and figured bass annotations encoded in MusicXML, **kern, and MEI formats.},
 author = {Ju, Yaolong and Margot, Sylvain and McKay, Cory and Fujinaga, Ichiro},
 title = {{Figured Bass Encodings for Bach Chorales in Various Symbolic Formats: A Case Study}},
 pages = {71--73},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/hcbz-5702},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Valk_2020,
 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.},
 author = {de Valk, Reinier and Lewis, David and Crawford, Tim and Ahmed, Ryaan and Pugin, Laurent and Kepper, Johannes},
 title = {{Crafting TabMEI, a Module for Encoding Instrumental Tablatures}},
 pages = {75--81},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/4f2k-fr26},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{NapolesLopez_2020,
 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.},
 author = {{N{\'a}poles L{\'o}pez}, N{\'e}stor and Fujinaga, Ichiro},
 title = {{Harmalysis: A Language for the Annotation of Roman Numerals in Symbolic Music Representations}},
 pages = {83--85},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/380x-dd98},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Plaksin_2020,
 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.},
 author = {Plaksin, Anna},
 title = {{Do Visual Features Matter? Studies in Phylogenetic Analysis of Mensural Music}},
 pages = {87--94},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/pzy7-ek18},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Harding_2020,
 abstract = {The discrete Fourier transform is a mathematically robust way of modeling various musical phenomena. I use the music21 Python module to interpret the pitch classes of an encoded musical score through the discrete Fourier transform (DFT). This methodology offers a broad view of the backgrounded scales and pitch-class collections of a piece. I have selected two excerpts in which the composers are very frugal with their pitch class collections---one in a tonal idiom, the other atonal. These constrained vocabularies are well suited for introducing the DFT's methodological strengths as they pertain to score analysis.},
 author = {Harding, Jennifer Diane},
 title = {{Computer-Aided Analysis Across the Tonal Divide: Cross-Stylistic Applications of the Discrete Fourier Transform}},
 pages = {95--104},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/2n0b-1v04},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

%%% -----------------------------
%%% MEC 2020 Proceedings: Posters

@inproceedings{ParadaCabaleiro_2020,
 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).},
 author = {Parada-Cabaleiro, Emilia and Torrente, {\'A}lvaro},
 title = {{Preventing Conversion Failure across Encoding Formats: A Transcription Protocol and Representation Scheme Considerations [Poster]}},
 pages = {105--108},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/etwb-m434},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Rettinghaus_2020,
 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.},
 author = {Rettinghaus, Klaus and R{\"o}wenstrunk, Daniel and Kepper, Johannes},
 title = {{Integrating Score Rendition in the MEI Garage [Poster]}},
 pages = {109},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Rashleigh_2020,
 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.},
 author = {Rashleigh, Patrick and Brusch, Crystal},
 title = {{Multimedia from the 17th-Century Book to the 21st-Century Web: a Playable Digital Edition of Michael Maier's "Atalanta fugiens" [Poster]}},
 pages = {111--116},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/ggym-sc21},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Kuo_2020,
 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.},
 author = {Kuo, Kevin and Viglianti, Raffaele},
 title = {{Implementing the Enhancing Music Addressability API for MusicXML [Poster]}},
 pages = {117--120},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/n2nk-aa67},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

@inproceedings{Desmond_2020,
 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.},
 author = {Desmond, Karen and Hankinson, Andrew and Pugin, Laurent and Regimbal, Juliette and Sapp, Craig Stuart and Thomae, Martha E.},
 title = {{Next Steps for Measuring Polyphony -- A Prototype Editor for Encoding Mensural Music [Poster]}},
 pages = {121--124},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/5k88-9z02},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

%%% --------------------------------
%%% MEC 2020 Proceedings: Keynote II

@inproceedings{Joubert_2020,
 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.},
 author = {Joubert, Estelle},
 title = {{Traversing Eighteenth-Century Networks of Operatic Fame}},
 pages = {125--137},
 publisher = {{Humanities Commons}},
 editor = {{De Luca}, Elsa and Flanders, Julia},
 booktitle = {{Music Encoding Conference Proceedings 2020}},
 year = {2020},
 doi = {10.17613/6yhy-a027},
 bibbase_note = {Keynote II.},
 keywords = {mec-proceedings, mec-proceedings-2020},
 displayby = {Contributions from MEC 2020}
}

%%% -------------------------------------
%%% MEC 2021 Proceedings: Full volume

@proceedings{Muennich-Rizo_2022a,
 abstract = {Conference proceedings of the Music Encoding Conference 2021 with Foreword by Stefan M{\"u}nnich and David Rizo.},
 year = {2022},
 title = {{Music Encoding Conference Proceedings 2021}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 publisher = {{Humanities Commons}},
 isbn = {978-84-1302-173-7},
 editor = {M{\"u}nnich, Stefan and Rizo, David},
 doi = {10.17613/fc1c-mx52},
 bibbase_note = {Full volume.},
 displayby = {Common part MEC 2021}
}

%%% ------------------------------
%%% MEC 2021 Proceedings: Foreword

@inproceedings{Muennich-Rizo_2022b,
 abstract = {Foreword of the Music Encoding Conference 2021 proceedings.},
 author = {M{\"u}nnich, Stefan and Rizo, David},
 title = {{Foreword}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {vii--viii},
 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/f1b1-zv67},
 displayby = {Common part MEC 2021}
}

%%% -------------------------------
%%% MEC 2021 Proceedings: Keynote I

@inproceedings{Torrente-LLorens_2022,
 abstract = {Musicology is a small discipline within the wide spectrum of human knowledge, yet it is already divided into various branches, each with its own societies, conferences, journals, jargons, degrees, prejudices, $\ldots$, and jobs. Although they share their object of investigation -- ``the art of music as a physical, psychological, aesthetic, and cultural phenomenon'' --, these branches very often ignore one another. Research in musicology is mostly a solitary task, as investigations, papers, and publications are commonly signed by single authors, in contrast with STEM disciplines where teamwork is the rule. This is in part the result of tradition -- the ``Musicological Toolbox'' -- but also the aftermath of the job market and financing programs.

Large funding schemes such as the European Research Council (ERC) grants are becoming a major disruptive factor in many disciplines in the humanities, including musicology. Scholars in all fields now have the opportunity to build research teams, and most of their members receive their salaries to exclusively work on the project. In other words, we are starting to build what could be called a Musicology Lab, learning along the way how teamwork is reshaping and transforming the Musicological Toolbox, the look and feel of our discipline, the way we work as well as the way we publish and disseminate our results.

This paper presents some of the key features of the ERC Didone project, one of its principal tasks being to create a digitally encoded corpus of some 3,000 arias in MusicXML format from about 180 musical settings of a small number of opera librettos by Pietro Metastasio. It focuses on some of the project's research tasks, emphasizing how the skills of a team of eighteen scholars with very different expertise -- historical musicology, music theory and analysis, cultural history, librettology, archival research, music performance, music engraving, MIR, computer science, and statistical modeling -- combine to explore the potential answer(s) to the main research question of the project: How are emotions expressed through music?},
 author = {Torrente, {\'A}lvaro and Llorens, Ana},
 title = {{The Musicology Lab: Teamwork and the Musicological Toolbox}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {9--20},
 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/kmjq-pb94},
 bibbase_note = {Keynote I.},
 displayby = {Contributions from MEC 2021}
}

%%% -------------------------------
%%% MEC 2021 Proceedings: Papers

@inproceedings{RosFabregas_2022,
 abstract = {This paper presents the recent implementation of encoded music notation in two open access platforms of the Spanish National Research Council (CSIC) devoted to traditional music and polyphony, respectively: Fondo de M{\'u}sica Tradicional IMF-CSIC (FMT)1 and Books of Hispanic Polyphony IMF-CSIC (BHP)2. Even though, at first, both repertories seem unconnected, they have many textual/literary and musical points in common -- such as the presence/survival of old 15th--17th century texts and/or melodies of polyphonic romances (ballads) in the 20th century oral tradition --; future technological developments will facilitate further connections beyond the ones already found through search by text incipits and numeric melodic incipit connecting both platforms. The presentation will have two parts devoted to FMT (with more than 20.000 images of melodies in open access, it is the largest online archive of folklore in the Hispanic world; it is used also for OMR research) and BHP (a reference online catalogue for polyphonic choir books in Spain and books with Hispanic polyphony elsewhere). After a brief explanation about the origin and scope of the repertories covered in each platform, a few examples of encoded transcriptions of a melody, of an incipit in mensural notation, and of a polyphonic work (in MusicXML, **mens, and **kern; MEI can be used, too) rendered through Verovio will illustrate the potential development of FMT and BHP. Both websites constitute leading educational and musicological resources of the very rich Spanish music heritage, inviting national and international collaboration (crowdsourcing) to expand the contents of both platforms and to develop their digital technology.},
 author = {Ros-F{\'a}bregas, Emilio},
 title = {{Encoded Spanish Music Heritage through Verovio: The Online Platforms \textit{Fondo de M{\'u}sica Tradicional IMF--CSIC} and \textit{Books of Hispanic Polyphony IMF--CSIC}}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {21--29},
 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/m2ny-6b18},
 displayby = {Contributions from MEC 2021}
}

@inproceedings{Goebl_2022,
 abstract = {Though MEI is widely used in music informatics and digital musicology research, the relative lack of authoring software and the specialised nature of its community have limited the availability of high-quality MEI encodings. Translating to MEI from other encoding formats, or generating MEI via optical music recognition processes, is thus a typical component of many MEI-project workflows. However, automated translations rarely achieve results of sufficient quality, a problem well-known in the community and documented in the literature. Final correction and validation by hand is therefore a common requirement. In this paper, we present meifriend, an extension to the Atom text editor, which aims to relieve the degree of manual labour required in this process. The tool facilitates most common MEI editing tasks including the insertion and manipulation of MEI elements, makes the encoded score visible and interactively accessible to the user, and provides quality-of-life conveniences including keyboard shortcuts for editing functions as well as intelligent navigation of the MEI hierarchy. We detail the tool's implementation, describe its functionalities, and evaluate its responsiveness during the editing process, even when editing very large MEI files.},
 author = {Goebl, Werner and {M. Weigl}, David},
 title = {{Alleviating the Last Mile of Encoding: The \textit{mei-friend} Package for the Atom Text Editor}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {31--39},
 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 = {10.17613/45ag-v044},
 bibbase_note = {Best Paper Award.},
 displayby = {Contributions from MEC 2021}
}

@inproceedings{Rettinghaus_2022,
 abstract = {Digital symbolic music scores offer many benefits compared to paper-based scores, such as a flexible dynamic layout that allows adjustments of size and style, intelligent navigation features, automatic page-turning, on-the-fly modifications of the score including transposition into a different key, and rule-based annotations that can save hours of manual work by automatically highlighting relevant aspects in the score. However, most musicians still rely on paper because they don't have access to a digital version of their sheet music, or their digital solution does not provide a satisfying experience. To bring digital scores to millions of musicians, we at Enote are building a mobile application that offers a comprehensive digital library of sheet music. These scores are obtained by a large-scale Optical Music Recognition process, combined with metadata collection and curation. Our material is stored in the MEI format and we rely on Verovio as a central component of our app to present scores and parts dynamically on mobile devices. This combination of the expressiveness of MEI with the beautiful engraving of Verovio allows us to create a flexible, mobile solution that we believe to be a powerful and true alternative to paper scores with practical features like smart annotations or instant transpositions. We also invest heavily into the open-source development of Verovio to make it the gold standard for rendering beautiful digital sheet music.},
 author = {Rettinghaus, Klaus and Pacha, Alexander},
 title = {{Building a Comprehensive Sheet Music Library Application}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {41--48},
 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/s315-2y29},
 displayby = {Contributions from MEC 2021}
}

@inproceedings{Lewis_2022,
 abstract = {Music and the scholarship around it can be challenging to present in the forms associated with books and articles -- primarily linear and with an emphasis on the static and visual over the sonic and interactive. We introduce the Lohengrin TimeMachine, a multiple-path multimedia app, optimised for a touch-screen tablet. The app offers two essays about motifs in the opera -- one in textual form, and one a 30-minute video. These linear narratives are supported by audio examples, along with dynamic links that take the reader into a fully-interactive exploration of the occurrence of motifs across the opera. The reader's journey is supported with recorded music and scores, as well as novel visualisations of the orchestration and the timeline of the opera. The app is designed to operate over standards-based web documents published online, with extension and reuse in mind. In this paper, we describe the app, its underlying technology, and the journeys it supports.},
 author = {Lewis, David and Page, Kevin R. and Dreyfus, Laurence},
 title = {{\textit{Lohengrin TimeMachine}: Musicological Multimedia Made with MELD}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {49--55},
 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/kggk-pz64},
 displayby = {Contributions from MEC 2021}
}

@inproceedings{Berndt_2022,
 abstract = {With Music Performance Markup (MPM) we introduce a new XML format for describing musical performances in a systematic way. The format builds upon a series of mathematical models that capture the characteristics of performance features such as continuous tempo and dynamics transitions, articulations, and metrical accentuations. Bundled with MPM comes an infrastructure of documentations and software tools. This paper aims to provide an overview of and introduction to MPM, its infrastructure and ongoing development activities.},
 author = {Berndt, Axel},
 title = {{Music Performance Markup: Format and Software Tools Report}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {57--63},
 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/s357-e217},
 displayby = {Contributions from MEC 2021}
}

@inproceedings{Martignano_2022,
 abstract = {The ERC funded project European Ars Nova aims to study the corpus of poetry in Latin, Italian and French set to music by the polyphonists of the so-called Ars Nova. Since one of the main research goals of the project is the comparative study of musical and poetic texts, we are currently developing a web application that will allow readers to visualize and interact with the TEI- and MEI-encoded editions of our corpus together. The adoption of MEI as the underlying format for the digital editions of the musical texts presented us with the challenge of designing an editing workflow that allowed us to critically edit the texts in a user-friendly software like Finale. In this article, we illustrate how the critical editions are transposed to MEI documents using an ad hoc tool developed within the project, and how they are visualized in the web application. Finally, we discuss the critical aspects of the workflow and possible next steps for our digital critical edition in relation to the state of the art of music encoding.},
 author = {Martignano, Chiara and Calvia, Antonio and Epifani, Michele},
 title = {{Tools and Perspectives for a Digital Critical Edition of Fourteenth-Century Polyphonic Music}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {65--74},
 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/mnk2-yd48},
 displayby = {Contributions from MEC 2021}
}

@inproceedings{GonzalezGutierrez_2022,
 abstract = {This paper aims to highlight, as a case study, the encoding of a Spanish traditional music corpus using the MEI standard for the development of an interactive traditional music database focused on preserving and disseminating this type of cultural expression in the field of music education as well as ethnomusicology research. It analyzes the possibilities of the schemas and the guidelines followed to describe cancioneros at the bibliographic level, as an archetypal form of compiling traditional music in Spain, as well as the analytical aspects that highlight paradigmatic elements of this kind of music such as rhythmic patterns, tessituras, modal contexts, phrases, structural forms, etc.},
 author = {{Gonz{\'a}lez Guti{\'e}rrez}, Sara and {Merch{\'a}n S{\'a}nchez-Jara}, Javier and {Navarro C{\'a}ceres}, Mar{\'i}a},
 title = {{Encoding Traditional Spanish Music for Pedagogical Purposes Through MEI: Challenges and Opportunities}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {75--84},
 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/w639-8t53},
 displayby = {Contributions from MEC 2021}
}

@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}
}

@inproceedings{Gubsch_2022,
 abstract = {Metadata are a very broad and extremely differentiated subject and ranges from rudimentary catalog data to deeply indexed scientific catalogs (e.g., catalogs of works). In this paper, the concept of metadata in the context of MEI is first examined, before two examples are used to show that metadata are more than just rudimentary descriptions. These examples are also intended to illustrate the extent to which metadata are encoded in the field of music philology and thus represent an attempt to create a little more awareness for the work of the Metadata and Cataloging Interest Group of MEI.

The examples deal on the one hand with the encoding of performance resources and on the other hand with watermarks. In both cases, the possibilities of metadata encoding with MEI version 4 are exhausted and it is discussed which steps are useful and necessary to create an even deeper, machine-readable structure so that these sub-fields of the MEI metadata can also be used for larger scientific purposes such as analyses.},
 author = {Gubsch, Clemens and Ried, Dennis},
 title = {{METAdata and metaDATA}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {97--105},
 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 = {10.17613/50t9-z881},
 displayby = {Contributions from MEC 2021}
}

@inproceedings{Richts-Matthaei_2022a,
 abstract = {Library forms of cataloging may differ greatly from the cataloging requirements of musicological research projects: They are often not detailed enough and do not take a close enough look at aspects of content relevant to research, such as handwritten entries in materials, etc. Library catalog entries of individual documents stand on their own for historical reasons, but usually do not reflect relationships to other surviving materials. This observation was the starting point for the Detmold Court Theatre Project, a six-year research project (September 2014 -- January 2021) that looked at the interconnectedness of different surviving materials of a 19th century theatre company that existed from 1825 to 1875. This project dealt with a very detailed form of inventory indexing in order to hand over and make accessible the formerly related materials in their entirety. This form of indexing was called `contextual deep indexing'. This special form of indexing took into account not only the pure performance materials but also the surviving theatre files, such as fee books, revenue and expense documents, stock lists, director's books, role and costume books, etc. All information was recorded based on autopsy (in the case of musical records on the basis of already existing RISM records from the 1980s). It was the first attempt to carry out such a form of indexing on the basis of the MEI and TEI encoding standards for a large repertory. For this purpose, a data model was needed that focuses on the linking of MEI and TEI data and enables the linking of different surviving library holdings, with a focus on a FRBR-based indexing of performance materials and associated performers as well as the structure of the theatre. Using a custom ODD-based schema, separate records were created for all works, expressions, and manifestations (in this case preserving the unity of materials kept under a common signature) and given unique identifiers so that they can now all be referenced individually.

The paper summarizes the results of this pilot project. It addresses the particularities and requirements of an inventory development that does not focus on individual objects, but on the relationship between different objects (and subjects). It presents a document-oriented (not object-oriented) data model that uses library materials to revive an entire network of a long-gone organization.},
 author = {Richts-Matthaei, Kristina and Capelle, Irmlind},
 title = {{United, Linked, Connected -- A Data Model for the Inventory of the Former Detmold Court Theatre (1825--1875), or: How Library Inventory History Can also Be Told}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {107--115},
 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/bqd1-yf81},
 displayby = {Contributions from MEC 2021}
}

@inproceedings{Page_2022,
 abstract = {Performance of music in the home was the means by which most works were received before the advent of audio recordings and broadcasts, yet the notation sources that form our primary record of this culture have not been the subject of comprehensive or methodical study. Choices made by arrangers adapting music for domestic consumption -- of instrumentation, abbreviation, or simplification -- reflect the musical life of the 19th century, and can inform our understanding alongside contemporary accounts such as newspapers, adverts, and diaries.

This position paper gives the background, motivation, and proposed approach of research currently being undertaken within the Beethoven in the House project. This will include a study of Steiner editions of Beethoven's 7th and 8th Symphonies and Wellingtons Sieg, making a detailed comparison between arrangements, systematically identifying a core common to multiple versions, and asking if this reflects the stated values of the publisher. A second survey will look for patterns across a larger sample of lesser-known and poorly catalogued scores, collating emergent indicators of arrangers' motivations within a narrative of the domestic market -- the music industry of its day. Both studies will innovate digital methods which characterise arrangements as music encodings, including `sparse' approaches to notation and annotation.},
 author = {Page, Kevin R. and Kepper, Johannes and Siegert, Christine and Hankinson, Andrew and Lewis, David},
 title = {{Beethoven in the House: Digital Studies of Domestic Music Arrangements}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {117--123},
 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 = {10.17613/389b-xx73},
 displayby = {Contributions from MEC 2021}
}

%%% -------------------------------
%%% MEC 2021 Proceedings: Posters

@inproceedings{Albuquerque_2022,
 abstract = {PROFMUS is a collaborative project that aims to carry out the research and consolidation of information to support further research about the Portuguese musicians active in the period from 1750 to 1986. The information to be collected must include as many relevant attributes as possible, especially about their academic background, professional careers, and personal details. This project considers a large amount of data from a wide time-period, which means there will be various attributes for each object, which will evolve over time or differ from source to source. There is also an issue wit the lack of uniformity of existing sources in multiple institutions, museums, archives, and databases, each with its own data scheme. Since PROFMUS has a long-term perspective, it does not try to create a uniform and prefixed scheme for the data to consolidate but accepts every different scheme and stores all data in a controlled knowledge base. We describe here an application for that purpose, using MediaWiki and Wikibase for storage, and a back-office specific application to manage and publish the data.},
 author = {Albuquerque, Maria Jo{\~a}o and Pinto, H. Sofia and Borbinha, Jos{\'e} Lu{\'i}s},
 title = {{The PROFMUS Application: Development, Status, and Future Progress}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {125--130},
 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 = {10.17613/7wd6-1x56},
 displayby = {Contributions from MEC 2021}
}

@inproceedings{Gotham_2022,
 abstract = {The OpenScore Lieder Corpus is a collection of over 1,200 nineteenth century songs encoded by a dedicated team of mostly volunteers over several years. Having reported on the initial phase, motivations, design, and community-oriented aspects of the project before, we present here the first, stable, large-scale release of this corpus specifically designed for MIR researchers, complete with comprehensive, structured, linked metadata. The corpus continues to be available under the open CC0 licence and represents a compelling dataset for a range of MIR tasks, not least given its unusual balance of large-scale with high-quality encoding, and of diversity (songs by over 100 composers, from many countries, and in a range of languages) with unity (centred on the nineteenth-century lieder tradition).},
 author = {Gotham, Mark Robert Haigh and Jonas, Peter},
 title = {{The OpenScore Lieder Corpus}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {131--136},
 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 = {10.17613/1my2-dm23},
 bibbase_note = {Best Poster Award.},
 displayby = {Contributions from MEC 2021}
}

@inproceedings{Richts-Matthaei_2022b,
 abstract = {NFDI4Culture is the consortium for research data on material and immaterial cultural heritage and offers a user-centered and research-led infrastructure. By focusing on the digital capture as well as data-based research of cultural assets, NFDI4Culture brings together different disciplines in their research interests but also in terms of their infrastructure needs. The consortium has been funded since October 2020 for an initial period of 5 years. Paderborn University is connected to NFDI4Culture via the Center for Music, Edition, Media (Zen-MEM), which bundles activities in the fields of digital musicology, music and film informatics, media science, media technologies, and in several areas of computer science with a special focus on Digital Music Edition and Digital Musicology. With its many projects, ZenMEM contributes a lot to the further development of MEI.

MEI will therefore also have a special place in NFDI4Culture. In addition to general community aspects and enhancements of the format, activities will focus on the development of best practice recommendations and training materials, the further development of MEI-related tools, such as MerMEId and the MEIGarage, and concepts for data quality in MEI, but also on the improvement of standard data for musical works. The poster will show the organizational structure of NFDI4Culture and its representation at Paderborn University, its interaction and networking with national and international infrastructures, combined with several examples where MEI is involved.},
 author = {Richts-Matthaei, Kristina and Albrecht-Hohmaier, Martin and R{\"o}wenstrunk, Daniel and M{\"u}nzmay, Andreas},
 title = {{MEI Meets NFDI4Culture}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {137--141},
 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/ny4d-bp67},
 displayby = {Contributions from MEC 2021}
}

@inproceedings{Hentschel_2022,
 abstract = {Chord-based harmony is an important aspect of many types of Western music, across genres, regions, and historical eras. However, the consistent representation and comparison of harmony across a wide range of styles (e.g., classical music, Jazz, Rock, or Pop) is a challenging task. Moreover, even within a single musical style, multiple theories of harmony exist, each relying on its own (possibly implicit) assumptions and leading to harmonic analyses with a distinct focus (e.g., on the root of a chord vs. its bass note) or representation (e.g., spelled vs. enharmonic pitch classes). Cross-stylistic and cross-theory comparisons are therefore even more difficult, particularly in a large-scale computational setting that requires a common overarching representation. To address these problems, we propose a model which allows for the representation of chords at multiple levels of abstraction: from chord realizations on the score level (if available), to pitch-class collections (including a potential application of different equivalences, such as enharmonic or octave equivalence), to pitch- and chord-level functions and higher-order abstractions. Importantly, our proposed model is also well-defined for theories which do not specify information at each level of abstraction (e.g., some theories make no claims about harmonic function), representing only those harmonic properties that are explicitly included and inducing others where possible (e.g., deriving scale degrees from root and key information). Our model thus represents an important step towards a unified representation of harmony and its various applications.},
 author = {Hentschel, Johannes and Moss, Fabian C. and McLeod, Andrew and Neuwirth, Markus and Rohrmeier, Martin},
 title = {{Towards a Unified Model of Chords in Western Harmony}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {143--149},
 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 = {10.17613/4crx-fr36},
 displayby = {Contributions from MEC 2021}
}

@inproceedings{Lind_2022,
 abstract = {Musical scores are frequently annotated with harmonic information, but widely used text-based methods rely on a limited number of visual channels. Though glyph-based methods exploit more channels, existing systems often violate perceptual design principles when employing color and rarely capture the frequency of chordal changes or their harmonic function. In this work, we introduce a new design idiom for augmenting sheet music through chordal glyphs embedded directly within musical staves. Harmonic concepts, weighted by saliency and categorized by data type, are mapped to visual channels ranked by discriminability. Preattentive processing is leveraged to support various user tasks, alongside redundant encodings of foundational harmonic elements to improve overall perceptual effectiveness. Key names and chord roots are displayed using parallel hue-based 12-step categorical colormaps. We then distill several design implications inherent in assigning colors to musical pitches regarding perceptual and linguistic effectiveness. Following this discussion, we outline open research directions.},
 author = {Lind, Justin},
 title = {{Visualizing Harmony Using Chordal Glyphs and Color Mapping}},
 keywords = {mec-proceedings, mec-proceedings-2021},
 pages = {151--158},
 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/taak-jv92},
 displayby = {Contributions from MEC 2021}
}

@inproceedings{Matuszewska_2022,
 abstract = {The field of musicology is constantly being enriched with digital, searchable music data. This trend opens new research possibilities; conversely, it requires new abilities to work with numerous data sets efficiently. Digital tools facilitate searching large music corpora and serve music analysis well. Nevertheless, there is still a potential to better harmonize research perspectives from musicology and

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