The Maryland Institute for Technology in the Humanities and the Michelle Smith Performing Arts Library invite you to participate in the 2018 Music Encoding Conference with the theme: “Encoding and Performance”.
Date: 23 – 24 May 2018 (with pre-conference workshops on 22 May and an ‘un-conference’ day on 25 May)
Location: University of Maryland, College Park, Maryland, USA
Deadline for Proposals: 5 November 2017 (midnight UK time)
Notification of Acceptance: 4 December 2017
Keynote speakers: Anna Kijas (Boston College)
John Rink (University of Cambridge)
Music encoding is a critical component of the emerging fields of digital musicology, digital editions, symbolic music information retrieval, and others. At the centre of these fields, the Music Encoding Conference has emerged as an important cross-disciplinary venue for theorists, musicologists, librarians, and technologists to meet and discuss new advances in their fields.
The Music Encoding Conference is the annual focal point for the Music Encoding Initiative community (http://music-encoding.org), but members from all encoding and analysis communities are welcome to participate.
For the first time, the annual conference will have a theme: “Encoding and Performance”. We welcome in particular submissions that theorize the relationship between music encoding and performance practice, describe experiments (failed or successful) in creating digital dynamic scores, propose ways of using encoded music for pedagogical purposes related to performance, or imagine future interconnections. The conference will be held at the Clarice Smith Performing Arts Center, and therefore, we encourage presentations that include a performance component or demonstration.
As always, other topics are welcome. Suggested topics include, but are not limited to:
– music encoding for performance research and practice
– music encoding as a theoretical approach for research
– methodologies for encoding, music editing, description and analysis
– rendering of symbolic music data in audio and graphical forms
– relationships between symbolic music data, encoded text, and facsimile images
– capture, interchange, and re-purposing of music data and metadata
– evaluation and control of quality of music data and metadata
– ontologies, authority files, and linked data in music encoding and description
– music encoding and symbolic music information retrieval
– additional topics relevant to music encoding, editing, and description
Authors are invited to upload their submission for review to our Conftool website, which will be available shortly: https://www.conftool.net/music-encoding2018. The deadline for all submissions is 5 November 2017 (midnight UK time).
Abstracts (in PDF format only) should be submitted through ConfTool, and the submitted PDF must anonymize the authors’ details.
Types of proposals
Paper and poster proposals. Provide an abstract of no more than 1000 words, excluding relevant bibliographic references (no more than ten). Please also include information about presentation needs, particularly if you are planning a performance demonstration.
Panel discussion proposals, describing the topic and nature of the discussion and including short biographies of the participants, must be no longer than 2000 words. Panel discussions are not expected to be a set of papers which could otherwise be submitted as individual papers.
Proposals for half- or full-day pre-conference workshops, to be held on May 22nd, should include the workshop’s proposed duration, as well as its logistical and technical requirements.
Friday May 25th is planned as an un-conference day, self-organized by the participants and open for anyone who wants to initiate a discussion on a topic mentioned above.
Additional details regarding registration, accommodation, etc. will be announced on the conference web page (http://music-encoding.org/community/conference).
If you have any questions, please e-mail [hidden email].
– Karen Desmond, chair (Brandeis University)
– Johanna Devaney (Ohio State University)
– David Fiala (Centre d’Études Supérieures de la Renaissance, Tours)
– Andrew Hankinson (Bodleian Libraries, University of Oxford)
– Maja Hartwig (University of Paderborn)
– Amanda Lee-Barber (The Clarice Smith Performing Arts Center)
– Stephen Henry, co-chair (Michelle Smith Performing Arts Library)
– Raffaele Viglianti, co-chair (Maryland Institute for Technology in the Humanities)
– Leighann Yarwood (The Clarice Smith Performing Arts Center)
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