[With apologies for cross-posting. Please distribute widely!]
We are pleased to announce our call for late-breaking reports to the Music Encoding Conference 2022.
The Music Encoding Conference is the annual meeting of the Music Encoding Initiative (MEI) community
and all who are interested in the digital representation of music. This cross-disciplinary venue is
open to and brings together members from various encoding, analysis, and music research communities,
including musicologists, theorists, librarians, technologists, music scholars, teachers, and
students, and provides an opportunity for learning and engaging with and from each other.
The MEC 2022 will take place Thursday 19th – Sunday 22nd May, 2022, at Dalhousie University, Nova
Scotia, Canada. The Conference will run in hybrid mode, allowing remote attendance where travel
plans are affected by the ongoing pandemic.
A wealth of information about attending MEC 2022 is available from the Conference website at
https://music-encoding.org/conference/2022
What are late-breaking reports?
-------------------------------
Late-breaking reports (LBR) offer submitting authors an opportunity to share new work on relevant
topics (see "Topics", below), with a special focus on experimental ideas, novel perspectives, early-
stage research, and late-breaking developments.
LBR submission requirements (see "Submission", below) are intended to provide a low barrier of
access to community feedback, with shortened page-length prescriptions and a simplified review
procedure compared to submissions to the regular conference programme.
Following the conference, authors of accepted LBR may choose to submit camera-ready versions of
their submission for inclusion in the conference proceedings. The MEC proceedings will be published
under an open access license and with an individual DOI number for all papers. Note that late-
breaking reports will be marked as "not peer-reviewed" in the proceedings due to the reduced LBR
review process.
Submission
-------------------------------
LBR submissions should be formatted in A4 size with 2.5cm margins, font size 12, single space,
justified, in a sans-serif typeface (e.g. Calibri) according to the MEC 2022 LBR Submission Template
available at https://tinyurl.com/mec22-lbr-template
* Length: Up to 2 pages (including figures and tables, but excluding references).
* Submission process: The LBR submission process will open on April 3rd, 2022, with submissions
accepted until capacity is reached (latest date: April 19th). Submissions (PDFs) should be uploaded
during this window via the MEC '22 ConfTool website at https://www.conftool.net/music-encoding2022/
* Review process: Submissions will be lightly reviewed for relevance to the conference (see
"Topics", below) and accepted in limited numbers based on the order in which they are received.
Please note the deadlines for the submission process outlined under "Important Dates", below.
Important Dates
-------------------------------
20 March: Early-bird conference registration deadline.
3-19 April: Submissions of late-breaking reports. Notifications of acceptance (pending light review)
will be provided within 3 working days from submission.
18 May: Final registration deadline (for in-person attendance).
19–22 May: Conference.
5 June: Final upload of camera-ready papers for publication in the proceedings. Camera-ready
versions are welcome to incorporate light modifications in response to feedback obtained during the
conference.
Topics
-------------------------------
The Conference welcomes contributions from all those who are developing or applying music encodings
in their work and research. Topics include, but are not limited to:
* data structures for music encoding
* music encoding standardisation
* music encoding interoperability / universality
* methodologies for encoding, music editing, description and analysis
* computational analysis of encoded music
* rendering of symbolic music data in audio and graphical forms
* conceptual encoding of relationships between multimodal music forms (e.g. symbolic music data,
encoded text, facsimile images, audio)
* capture, interchange, and re-purposing of musical data and metadata
* ontologies, authority files, and linked data in music encoding and description
* (symbolic) music information retrieval using music encoding
* evaluation of music encodings
* best practice in approaches to music encoding
and the use or application of music encodings in:
* music theory and analysis
* digital musicology and, more broadly, digital humanities
* digital editions
* music digital libraries
* bibliographies and bibliographic studies
* catalogues and collection management
* composition
* performance
* teaching and learning
* search and browsing
* multimedia music presentation, exploration, and exhibition
* machine learning approaches.
Additional information
-------------------------------
While we look forward to welcoming as many of you as possible in person at Dalhousie University, we
are preparing for MEC ‘22 within the context of ongoing uncertainty due to the Covid-19 pandemic. To
allow the community to best accommodate to this situation, we are organising this year’s conference
with the following commitments in mind:
* The conference will allow remote participation as in the previous years (MEC ‘20 and ‘21).
Decisions on the precise implementation of this year’s hybrid format will be announced in due course
and communicated widely (conference web page, mailing list, MEI Slack, Twitter) in the months
leading up to the event.
* We commit to the announced dates for MEC ‘22 (19th-22nd May). There will be no rescheduling of
the conference to fit projected changes in the pandemic situation this year.
Additional details regarding registration, accommodation, travel, and Covid guidelines are available
on the conference web page: https://music-encoding.org/conference/2022
In case of questions, feel free to contact: [log in to unmask]
Programme Committee
-------------------------------
Daniel Bangert, Digital Repository of Ireland, Royal Irish Academy
Benjamin Bohl, Department of Musicology, Goethe-Universität Frankfurt
Susanne Cox, Beethoven-Haus Bonn
Timothy Duguid, School of Humanities, University of Glasgow
Norbert Dubowy, Digital Mozart Edition, Salzburg Mozarteum Foundation
Maristella Feustle, University of North Texas Libraries Music Library
Estelle Joubert, Dalhousie University
Anna Kijas, Lilly Music Library, Tufts University
David Lewis, University of Oxford | Goldsmiths University of London
Sageev Oore, Dalhousie University | Vector Institute for Artificial Intelligence
Anna Plaksin, Johannes Gutenberg-Universität Mainz | Birmingham City University
Juliette Regimbal, McGill University
Kristina Richts-Matthaei, Paderborn University
David M. Weigl (Committee Chair), University of Music and Performing Arts Vienna
Local organizing Committee
-------------------------------
Jennifer Bain (Committee Chair), Dalhousie University
Estelle Joubert, Dalhousie University
Sageev Oore, Dalhousie University | Vector Institute for Artificial Intelligence
Morgan Paul, Dalhousie University
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