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2nd CfP: Music Encoding Conference 2019, 29th May - 1st June, Vienna


David Lewis <[log in to unmask]>


David Lewis <[log in to unmask]>


Thu, 22 Nov 2018 18:38:33 +0000





text/plain (1 lines)

** This list is managed by Dr Evangelos Himonides (UCL), on behalf of the Society for Education and Music Psychology Research (sempre), and aims to serve as a discussion forum for researchers working at the shared boundaries of science and music. This list was previously managed by the Institute of Musical Research. **


                 * Proposals deadline in two weeks *

                   MUSIC ENCODING CONFERENCE 2019

Wednesday 29 May - Saturday 1 June 2019, University of Vienna, Austria

                       2nd CALL FOR PROPOSALS


The Music Encoding Conference 2019 calls for paper, poster, panel, and 

workshop proposals to be submitted by 7 December 2018.

The seventh Music Encoding Conference will take place in 2019, 

continuing this key annual event for dissemination and discussion for 

those working with, and on, music encoding.

The 2019 conference will be held in the beautiful and culturally rich 

city of Vienna, Austria, jointly organised by the Austrian Academy of 

Sciences and the Mozart Institute of the Mozarteum Foundation Salzburg, 

on behalf of the Music Encoding Initiative community. The conference 

will be hosted at the University of Vienna over four days, with 

pre-conference workshops on Wednesday 29 May, the formal programme on 

Thursday 30 and Friday 31 May, and an ‘unconference’ on Saturday 1 June.


When using and manipulating digital music information, the properties 

and behaviours of its encoding are of fundamental importance - be that 

for musicological study, music theory, production of digital editions, 

composition, performance, teaching and learning, cataloguing, symbolic 

music information retrieval and recommendation, or more general 

electronic presentation of musical material and associated narratives. 

The study of music encoding and its applications is therefore a critical 

foundation for the use of music information by scholars, librarians, 

publishers, and the wider music industry.

The Music Encoding Conference has emerged as the foremost international 

forum where researchers and practitioners from across these diverse 

fields can meet and explore new developments in music encoding and its 

use. The Conference celebrates a multidisciplinary programme, combining 

the latest advances from established music encodings, novel technical 

proposals and encoding extensions, and the presentation or evaluation of 

new practical applications of music encoding (e.g. in academic study, 

libraries, editions, commercial products).

Pre-conference workshops provide an opportunity to quickly engage with 

best practice in the community. Newcomers are encouraged to submit to 

the main programme with articulations of the potential for music 

encoding in their work, highlighting strengths and weaknesses of 

existing approaches within this context. Following the formal programme, 

on Saturday 1 June, an unconference session fosters collaboration in the 

community through the meeting of Interest Groups, and self-selected 

discussions on hot topics that emerge during the conference.

The programme welcomes contributions from all those working on, or with, 

any music encoding. In addition, the Conference serves as a focus event 

for the Music Encoding Initiative community, with its annual community 

meeting scheduled the day following the main programme, on Saturday 1 June.


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 


* (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

* music digital libraries

* digital editions

* bibliographies and bibliographic studies

* catalogues

* collection management

* composition

* performance

* teaching and learning

* search and browsing

* multimedia music presentation, exploration, and exhibition


The Music Encoding Conference 2019 calls for paper, poster, panel, and 

workshop proposals. All submissions will be reviewed by 2-3 members of 

the programme committee before acceptance.

Authors are invited to upload their anonymized submission for review to 

our Conftool website: https://www.conftool.net/music-encoding2019

The deadline for all submissions is 7 December 2018 (see IMPORTANT DATES 

below). Conftool accepts abstracts as PDF files only. The submission to 

Conftool must include:

* name(s) of author(s)

* title

* abstract (see below for maximum lengths)

* current or most recent institutional affiliation of author(s) and 

e-mail address

* proposal type: paper, poster, panel session, or workshop

* all identifying information must be provided in the corresponding 

fields of Conftool only, while the submitted PDF must anonymize the 

author’s details.

Paper and poster proposals must include an abstract of no more than 1000 

words. Relevant bibliographic references may be included above this 

limit (i.e. will not be counted within the 1000 word limit). Please also 

include a short statement regarding your current interests related to 

music encoding.

Panel discussion proposal abstracts must be no longer than 2000 words, 

and describe the topic and nature of the discussion, along with short 

biographies of the participants. 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 29th, should include the workshop’s proposed duration, as well as 

its logistical and technical requirements.

Additional details regarding registration, accommodation, etc. will be 

announced on the conference web page:



All deadlines are midnight, Vienna (UTC+1).

Friday 7 December 2018: Deadline for submissions

Friday 25 January 2019: Notifications of acceptance

Wednesday 29 May 2019: Pre-conference workshops

Thursday 30 and Friday 31 May 2019: Papers, panels, and posters programme

Saturday 1 June 2019: Unconference

If you have any questions, please e-mail [log in to unmask]


Programme Committee

Tim Crawford, Goldsmiths, University of London

Johanna Devaney, Brooklyn College, CUNY

Andrew Hankinson, Bodleian Libraries

Anna E. Kijas, Boston College

Kevin R. Page, chair, University of Oxford

Klaus Rettinghaus, Saxon Academy of Sciences and Humanities in Leipzig

Agnes Seipelt, University of Paderborn

Raffaele Viglianti, University of Maryland

Local organising committee

Robert Klugseder, Institute for History of Art and Musicology, Austrian

Academy of Sciences

Franz Kelnreiter, Mozart Institute, Mozarteum Foundation Salzburg

Paul Gulewycz, Institute for History of Art and Musicology, Austrian

Academy of Sciences


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