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abstract = {The hybrid music edition project Reger-Werkausgabe (RWA) -- published as traditionally printed volumes accompanied by a complementary digital publication -- has developed and established new and innovative research and publication methods since its very beginning in 2008. By defining and developing appropriate interfaces to convey between real-world cultural heritage objects, (digital) technology, and modern forms of presentation of musicology research the project and its online research and publication platform RWA Online have constitute a stable and sustainable foundation for deeper and more complex digital edition work, leading to other domains of musicology research that in traditionally printed editions would remain in the domain of research "by-catch".},
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author = {Beer, Nikolaos and Nguyen, Alexander},
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title = {{Works of other authors and composers as templates -- approaches to capture template research in digital music editions. A case study in the context of the Reger-Werkausgabe.}},
abstract = {This paper delves into the transformative potential of Wikidata as a language-agnostic tool for categorizing musical instruments, catering to a broad spectrum of users, from individuals to large-scale deep learning models, across diverse linguistic landscapes. Traditional taxonomy systems, including Hornbostel-Sachs (HBS), Library of Congress (LOC), and Museum of Musical Instruments Online (MIMO), encounter challenges due to language-specific constraints and a lack of provisions for incorporating local terminology. The ubiquity of multiple formal identifiers for even well-known instruments, such as the double bass (contrabass, bass, etc.), further complicates the issue of instrument encoding and reference.},
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author = {Bouressa, Kyrie Ekaterina and Fujinaga, Ichiro},
abstract = {Encoding music scores for computational purposes has attracted the attention of researchers and musicologists in recent years. However, with the growing appearance of new Music Information Retrieval (MIR) tasks and techniques, new encoding format standards need to be set to overcome the challenges that still remain open. This contribution aims to study the encoding of Jazz lead sheets, from its justification and beginning to future-proof features. The main objective is to standardize encoding formats by means of several MIR tasks, such as Optical Music Recognition (OMR).},
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author = {Calvo-Zaragoza, Jorge and Garc{\'i}a-Iasci, Patricia and Sevilla, Juan Carlos Mart{\'i}nez and Rizo, David},
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title = {{Towards a standardization of lead sheet encoding: an experience in OMR}},
abstract = {The team asked the question "would it be possible to create an MEI parser that would simplify our files to a skeletal structure that could enable searches based on melodic intervals either with or without rhythm?" Also, could this same parser enable constant indexing as the corpus grows. This paper will report on a tool created to convert MEI files in this manner and the technology used to index and search the parsed files. This parser we developed can run against the entire airs connus corpus efficiently to create and maintain a simplified parallel corpus of compressed melodies for searching.},
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author = {Day, David and Stevenson, Jacob Ivan},
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title = {{Simplifying MEI for Searching Applications}},
abstract = {In this paper, we will present an anonymous project focused on the automatic analysis of plainchant found in some Portuguese manuscripts from the 12th to the 17th centuries. The chants to be analyzed are written in two music scripts: neumatic Aquitanian and square notation. This project aims to create a new experimental tool, a prototype interface able to compare the same chant, or portion of chant, across the whole repertory of music sources from the selected geographical area.},
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author = {{De Luca}, Elsa and S{\'a}nchez, Vicente Urones and Thomae, Martha E.},
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title = {{Encoding and Analysis of Early Music: Aquitanian and Square Music Scripts}},
abstract = {This workshop will proceed similarly to that of the previous three years, and is intended to give absolute beginners extended explanations of and practice with XML basics and rudimentary MEI encoding. The content will include, but not be limited to that of the MEI online tutorials, in order to maximize comprehension and retention of information through repetition and the gradual addition of new information in successive exercises. This workshop will allow for participation by those who are interested in MEI, but cannot travel to Denton at this time, and it offers both a smoother transition for users into the content of other conference workshops, as well as a recruiting tool for prospective users who don’t know where to begin. This presentation can be given in an in-person or hybrid format.},
abstract = {In the spring of 2023, the Digital and Cognitive Musicology Lab (DCML) at the Ecole polytechnique f{\'e}d{\'e}rale de Lausanne (EPFL) and the RISM Digital Center in Bern, Switzerland joined forces to implement MEI support in MuseScore, a widely used free and open-source music notation editor. One of the main areas of research within the DCML is corpus studies with large amounts of encoded notation. They maintain a number of encodings entered in MuseScore, but use the MEI format in their analysis and publishing toolchain. The current workflow, which imports MusicXML and then converts it to MEI or MuseScore, has impeded the growth of high-quality corpora, primarily due to ambiguities within the MusicXML format itself. A direct conversion method between MEI and MuseScore was identified as the solution to these issues. MEI support in MuseScore would also benefit the wider MEI community.},
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author = {Hankinson, Andrew and Hentschel, Johannes and Pugin, Laurent and Rammos, Ioannis and Rohrmeier, Martin},
abstract = {This paper explores possibilities for greater interoperability among digital hymnody indices and between hymnody indices and digital libraries of musical sources. These findings stem from a comparative analysis of data models for leading hymnody indices and a higher-level comparison of hymnody indices and related resources and collections of digitized musical sources. I undertook this research in developing a plan to index the contents of the forthcoming Sounding Spirit Digital Library (SSDL), a thematic digital collection of 1,300 vernacular sacred music books from the southeastern United States published between 1850 and 1925. In addition to developing a proposed data model for this future hymnody indexing project, I created a crosswalk detailing metadata fields shared among extant hymnody indices and documented opportunities for bringing data from these indices and related resources together to facilitate discovery and research.},
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author = {Karlsberg, Jesse P.},
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title = {{Indexing Hymnody: Comparative Analysis and Opportunities for Interoperability}},
abstract = {Undoubtedly, MEI is one of the most, if not the most versatile data model for encoding music notation, covering an increasing number of notational systems for various epochs and regions, and different scholarly interests and research questions on such music. In chapter 1.3.5 of the MEI Guidelines, it is recommended that "in production, it is best to use a customized version of MEI, restricted to the very needs of a project." However, there is no documentation so far on how to properly enrich the MEI model in those cases where the current standard does not adequately cover a given research interest.},
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author = {Kepper, Johannes and Rosendahl, Lisa and S{\"a}nger, Richard},
abstract = {The semantics of notation systems can naturally be meta-modelled as a network of transformations, starting with the syntactic elements of the notation and ending with the parameters of an execution. In this context, a digital encoding format for music notation can be seen as selecting a subset of the data nodes of this network for storage, leaving others to evaluation. For such a selection, semantic properties are defined which have impact on the practical costs of maintenance, migration, extension, etc.},
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author = {Lepper, Markus and Widemann, Baltasar Tranc{\'o}n y},
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title = {{Critical Semantic Properties of Music Notation Datasets}},
abstract = {Bach's Goldberg Variations provide a rich inventory of examples of all these challenges. This paper will illustrate those challenges and potential solutions in the context of an early-stage project to build an interactive viewer / player for the Goldberg Variations that allows exploration of the work through different domain lenses. The specific contrapuntal structures of these variations allows for a thorough exploration of representing the logical, gestural, and visual domains. Further abstracting away from the conventions of music notation will allow a more detailed exploration of the analytical domain as well, which does not require traditional sheet music and can be rendered in any form that is easily machine-readable. As well as the web application itself, the paper will also discuss Python code used to convert and map between the different domains. Currently the MEI is rendered using Verovio.},
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author = {Monnier, Sarah J. and Tauber, James K.},
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title = {{Modelling Multi-domain Voicing in the Goldberg Variations}},
abstract = {MEI's development to date has understandably focused on the digitization of visually-based musical documents. It thus has provided a parallel to historical musicology's long-standing (since the 19th century) conception of musical scores as musical works. The past quarter-century, in particular, has seen an expansion of musicological research to include performance studies based on the use of audio-visual recordings as primary source documents. Not least in the context of current considerations to expand the coding options of the format to include audiovisual elements, the limits of this current structuring become apparent. The question therefore arises whether the existing MEI structures are sufficient to respond to this performance oriented turn, or if they should be questioned and adapted as necessary in order to better align the data format with current developments and considerations in musicological research and neighbouring disciplines.},
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author = {Neumann, Joshua and Richts-Matthaei, Kristina},
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title = {{Modelling Performance -- Conceptual Realities vs. Practical Limitations in MEI}},
abstract = {The DFG project Digital Liszt Catalogue Raisonn{\'e}, which was launched in 2020, catalogues and systematizes Franz Liszt's oeuvre. To this end, philological and bibliographic information on Liszt-related sources and works will be collected and encoded and stored in a suitable data format as the basis for the index. MEI, an XML-based format that is human- and machine-readable and equally suitable for long-term archiving and data export via API, will be used for this purpose. The catalogue raisonn{\'e} to be developed will provide a selection of possible views of this data in a web interface. When indexing the source holdings, problems arise in the FRBR categorization, which forms the basis of MEI. The paper presents a problematic source in this respect and presents a preliminary coding in MEI for discussion.},
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author = {Richter, Matthias and Voigt, Boris},
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title = {{Issues of FRBR systematics in indexing sources that represent different versions of works. The example of Franz Liszt.}},
abstract = {This paper examines methods for encoding musical scores used for the hichiriki instrument in gagaku, traditional Japanese court music. Gagaku is Japanese oldest musical tradition, but its scores use ambiguous notation, posing challenges for computational analysis. The proposed encoding method focuses on sh{\=o}ga (sung mnemonic texts), which appear most frequently. The elements of tetsuke (fingering) and hy{\=o}shi (symbol for rhythmic cycles) accompany sh{\=o}ga in the markup. Efficient workflow uses Python code for initial markup and a Stream Deck device for rapid tagging while reviewing images of original scores. Encoded data created for 93 short and medium-length pieces provide a structured foundation for computational study of gagaku. Future work will extend encoding to parts for other wind instruments such as sh{\=o} and ry{\=u}teki.},
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author = {Seki, Shintaro},
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title = {{GagakuXML: Markup for Hichiriki Scores and Enhancing Efficiency in Traditional Japanese Music Encoding}},
abstract = {This paper presents and demonstrates the features of the "Clausula Archive of the Notre Dame Repertory" (CANDR), an online and open source database for thirteenth-century polyphony, augmented by an optical music recognition (OMR) and editing tool. Alongside this is a Python analysis programming toolkit specifically designed to study the problem of musical reuse in medieval polyphony within the limits of its ambiguous notation. CANDR provides a single graphical web interface to browse, search, and edit the sources of Notre Dame polyphony (in both facsimile and symbolic notation) by overlaying notational traces from OMR directly onto facsimile images.},
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author = {Stutter, Joshua},
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title = {{The "Clausula Archive of the Notre Dame Repertory": End-to-end OMR, encoding, and analysis of medieval polyphony}},
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