From d3ac526abfb9c7e6a9669cd061742809f40a41f4 Mon Sep 17 00:00:00 2001 From: "Stefan@Lap" Date: Mon, 22 Nov 2021 16:18:57 +0100 Subject: [PATCH] fix(website): prefer https over http for links whenever possible --- CONTRIBUTING.md | 2 +- _conferences/2021/program.html | 2 +- _config.yml | 2 +- _includes/footer.html | 2 +- _projects/edirom.md | 2 +- _projects/ema.md | 2 +- _projects/simssa.md | 2 +- _projects/syrinx.md | 2 +- _sass/spectre/_comparison-sliders.scss | 2 +- community/interest-groups.md | 6 +- .../mei-board/elections/2018/candidates.md | 4 +- .../mei-board/elections/2020/candidates.md | 2 +- community/mei-by-laws.md | 4 +- conference/code-of-conduct.md | 8 +-- conference/hosting-guidelines.md | 4 +- conference/mec_proceedings.bib | 56 +++++++++---------- index.html | 6 +- unused/community.md | 4 +- unused/organization.md | 2 +- 19 files changed, 57 insertions(+), 57 deletions(-) diff --git a/CONTRIBUTING.md b/CONTRIBUTING.md index a80e4480..20079818 100644 --- a/CONTRIBUTING.md +++ b/CONTRIBUTING.md @@ -30,7 +30,7 @@ Create a new branch for your changes on your local Git repository. You should ma Run `bundle install` in the root directory of your local Git repository directory. This will install all of the requirements for running the site locally. -Windows user should check out this step-by-step guide to setting up Jekyll on Windows: http://jekyll-windows.juthilo.com/ +Windows user should check out this step-by-step guide to setting up Jekyll on Windows: [https://jekyll-windows.juthilo.com/](https://jekyll-windows.juthilo.com/) ### Step 4. Run the Jekyll server diff --git a/_conferences/2021/program.html b/_conferences/2021/program.html index 9283e3e9..866dd89c 100644 --- a/_conferences/2021/program.html +++ b/_conferences/2021/program.html @@ -179,7 +179,7 @@

19 July 2021, 15:30 to 18:00 PM (CEST)

Convenor: Craig Sapp

-

Presentation slides: http://bit.ly/mec2021-humdrum

+

Presentation slides: https://bit.ly/mec2021-humdrum

The workshop will start with a hands-on tutorial of the Humdrum data format, beginning with fundamentals of encoding music notation in Humdrum using the Verovio Humdrum Viewer (VHV). Participants will learn how to import MusicXML/MEI files into VHV and convert them into Humdrum data, as well as exporting Humdrum data to MEI and PDF files. A survey of graphical editing capabilities in VHV and equivalent direct textual changes to the Humdrum data will be compared. Basic data processing methods such as adding lyrics and figured bass will be presented. Encoding and working with mensural music as Humdrum data will be covered depending on the interests of the participants.

diff --git a/_config.yml b/_config.yml index c7c97a38..52315742 100644 --- a/_config.yml +++ b/_config.yml @@ -3,7 +3,7 @@ title: Music Encoding Initiative email: info@music-encoding.org baseurl: "" style_baseurl: "" -url: "http://music-encoding.org" # the base hostname & protocol for your site +url: "https://music-encoding.org" # the base hostname & protocol for your site twitter_username: music-encoding # Build settings diff --git a/_includes/footer.html b/_includes/footer.html index 03a6390b..4e8e9436 100644 --- a/_includes/footer.html +++ b/_includes/footer.html @@ -3,7 +3,7 @@
- + Akademie der Wissenschaften | Mainz
diff --git a/_projects/edirom.md b/_projects/edirom.md index 0c4850cb..50046345 100644 --- a/_projects/edirom.md +++ b/_projects/edirom.md @@ -7,4 +7,4 @@ archive: true contributors: - "Edirom Project, Detmold" --- -The [Edirom Project](http://www.edirom.de) develops several tools for digital scholarly editions of musical works since 2003\. It collaborates with several Complete Works projects like the [Carl-Maria-von-Weber-Gesamtausgabe](http://www.weber-gesamtausgabe.de), the [Reger-Werkausgabe (RWA)](https://www.reger-werkausgabe.de) and the [OPERA-project](http://www.adwmainz.de/?id=1893&L=0). In this project, MEI is used to align digital facsimiles of musical sources, to store a digital critical report with all the notable annotations of the project editor, and a rendering of CMN-based MEI encodings is currently under development. Edirom closely collaborates with [MerMEId](http://www.kb.dk/en/nb/dcm/projekter/mermeid.html) (see above), which will be used to provide much wider access to the MEI header than Edirom's core focus, both in the Editor tool and the brand new online version of the Edirom. +The [Edirom Project](https://www.edirom.de) develops several tools for digital scholarly editions of musical works since 2003\. It collaborates with several Complete Works projects like the [Carl-Maria-von-Weber-Gesamtausgabe](https://www.weber-gesamtausgabe.de), the [Reger-Werkausgabe (RWA)](https://www.reger-werkausgabe.de) and the [OPERA-project](https://www.adwmainz.de/?id=1893&L=0). In this project, MEI is used to align digital facsimiles of musical sources, to store a digital critical report with all the notable annotations of the project editor, and a rendering of CMN-based MEI encodings is currently under development. Edirom closely collaborates with [MerMEId](http://www.kb.dk/en/nb/dcm/projekter/mermeid.html) (see above), which will be used to provide much wider access to the MEI header than Edirom's core focus, both in the Editor tool and the brand new online version of the Edirom. diff --git a/_projects/ema.md b/_projects/ema.md index b6772eda..c84217af 100644 --- a/_projects/ema.md +++ b/_projects/ema.md @@ -6,6 +6,6 @@ image: "projects/ema.png" contributors: - "Raffaele Viglianti, Richard Freedmann, Andrew Hankinson" --- -The [Enhancing Music notation Addressability (EMA)](http://mith.umd.edu/research/enhancing-music-notation-addressability/) project has created the Music Addressability API to provide a web-friendly mechanism for addressing specific portions of music notation on the web, regardless of their format ([full API](https://github.com/umd-mith/ema/blob/master/docs/api.md)). +The [Enhancing Music notation Addressability (EMA)](https://mith.umd.edu/research/enhancing-music-notation-addressability/) project has created the Music Addressability API to provide a web-friendly mechanism for addressing specific portions of music notation on the web, regardless of their format ([full API](https://github.com/umd-mith/ema/blob/master/docs/api.md)). An API implementation, on the other hand, cannot be format-independent: at the very least, it needs to know how a specific format models measures, staves, and beats to be able to retrieve the requested portion of music notation. Our MEI implementation is called **Open MEI Addressability Service**, or **Omas** ([code on GitHub](https://github.com/music-addressability/ema-for-mei)). Omas interprets a Music Addressability conformant URI, retrieves the specified MEI resource, applies the selection, and returns it. An additional parameter on the URI can be used to determine how “complete” the retrieved selection should be (whether it should, for example, include time and key signatures, etc.). diff --git a/_projects/simssa.md b/_projects/simssa.md index 71a86da5..6052a092 100644 --- a/_projects/simssa.md +++ b/_projects/simssa.md @@ -6,5 +6,5 @@ image: "projects/simssa.jpg" contributors: - "Ichiro Fujinaga, Julie Cumming, McGill University, Montréal" --- -[SIMSSA](http://simssa.ca/) targets digitized (scanned) music scores to design an industrial-digitization infrastructure, including optical music recognition (OMR), for searching, transcribing, and analyzing music document sources. To support a wide range of musical notation systems and styles, MEI is deployed as a common format for encoding all music notation output. +[SIMSSA](https://simssa.ca/) targets digitized (scanned) music scores to design an industrial-digitization infrastructure, including optical music recognition (OMR), for searching, transcribing, and analyzing music document sources. To support a wide range of musical notation systems and styles, MEI is deployed as a common format for encoding all music notation output. diff --git a/_projects/syrinx.md b/_projects/syrinx.md index 64c48970..496744ae 100644 --- a/_projects/syrinx.md +++ b/_projects/syrinx.md @@ -7,4 +7,4 @@ contributors: - "Raffaele Viglianti, London" archive: true --- -_Syrinx_ (_La Flûte de Pan_) by Claude Debussy (1862 - 1918) is a short piece for flute solo originally composed as a theatrical interlude called La Flûte de Pan. Comparing the first edition (published posthumously in 1927), a manuscript discovered in 1991, a 1996 edition, and a 1922 _Music and Letters_ article by the first performer of _La Flûte de Pan_, [this report](http://dh2010.cch.kcl.ac.uk/academic-programme/abstracts/papers/pdf/ab-819.pdf) investigates the potential of digital representation and presentation of comparative editions of music using MEI. \ No newline at end of file +_Syrinx_ (_La Flûte de Pan_) by Claude Debussy (1862 - 1918) is a short piece for flute solo originally composed as a theatrical interlude called La Flûte de Pan. Comparing the first edition (published posthumously in 1927), a manuscript discovered in 1991, a 1996 edition, and a 1922 _Music and Letters_ article by the first performer of _La Flûte de Pan_, [this report](https://dh2010.cch.kcl.ac.uk/academic-programme/abstracts/papers/pdf/ab-819.pdf) investigates the potential of digital representation and presentation of comparative editions of music using MEI. diff --git a/_sass/spectre/_comparison-sliders.scss b/_sass/spectre/_comparison-sliders.scss index a2198633..41badce0 100755 --- a/_sass/spectre/_comparison-sliders.scss +++ b/_sass/spectre/_comparison-sliders.scss @@ -1,5 +1,5 @@ // Image comparison slider -// Credit: http://codepen.io/solipsistacp/pen/Gpmaq +// Credit: https://codepen.io/solipsistacp/pen/Gpmaq .comparison-slider { height: 50vh; overflow: hidden; diff --git a/community/interest-groups.md b/community/interest-groups.md index 896d1c0a..3937cc3c 100644 --- a/community/interest-groups.md +++ b/community/interest-groups.md @@ -52,16 +52,16 @@ awareness of Linked Data practices within the MEI community, and of music-specific approaches within the Semantic Web and Web science communities. The IG is open to all members of the MEI community with an interest in Linked Data and can be joined by subscribing to the mailing -list: [http://lists.uni-paderborn.de/mailman/listinfo/mei-linked-data-ig](http://lists.uni-paderborn.de/mailman/listinfo/mei-linked-data-ig). +list: [https://lists.uni-paderborn.de/mailman/listinfo/mei-linked-data-ig](https://lists.uni-paderborn.de/mailman/listinfo/mei-linked-data-ig). ## Analysis Interest Group **Administrative Co-Chairs: [Agnes Seipelt](mailto:aseipelt@mail.upb.de) and [Fabian Moss](mailto:fabianmoss@gmail.com)**.
-The aims of the Music Analysis Interest Group are to explore the potential of MEI for music analysis including e.g. the harmonic, melodic, and rhythmical content of pieces, as well as the metadata and comparisons between individual compositions or corpora. The IG seeks to discuss, collect and share different encoding formats, annotational languages and applications for musical analysis in many different ways, and support and enhance possible interconnections to MEI. A central goal is to improve the use of MEI for the encoding of different analytical approaches by recommending additions and modifications to future versions of the MEI schema and guidelines. The group welcomes any member of the MEI community interested in music analysis to get involved by subscribing to the mailing list [http://lists.uni-paderborn.de/mailman/listinfo/mei-analysis-ig](http://lists.uni-paderborn.de/mailman/listinfo/mei-analysis-ig) or the [MEI Slack channel](https://music-encoding.slack.com/archives/C014F0QAS59) ([join the MEI Slack here](https://join.slack.com/t/music-encoding/shared_invite/zt-4zgx6zbq-2jEjDiUT7ym3dygTaY8C0g)). +The aims of the Music Analysis Interest Group are to explore the potential of MEI for music analysis including e.g. the harmonic, melodic, and rhythmical content of pieces, as well as the metadata and comparisons between individual compositions or corpora. The IG seeks to discuss, collect and share different encoding formats, annotational languages and applications for musical analysis in many different ways, and support and enhance possible interconnections to MEI. A central goal is to improve the use of MEI for the encoding of different analytical approaches by recommending additions and modifications to future versions of the MEI schema and guidelines. The group welcomes any member of the MEI community interested in music analysis to get involved by subscribing to the mailing list [https://lists.uni-paderborn.de/mailman/listinfo/mei-analysis-ig](https://lists.uni-paderborn.de/mailman/listinfo/mei-analysis-ig) or the [MEI Slack channel](https://music-encoding.slack.com/archives/C014F0QAS59) ([join the MEI Slack here](https://join.slack.com/t/music-encoding/shared_invite/zt-4zgx6zbq-2jEjDiUT7ym3dygTaY8C0g)). ## Digital Pedagogy Interest Group **Administrative Co-Chairs: [Joy H. Calico](mailto:joy.calico@Vanderbilt.Edu) and [Anna Kijas](mailto:Anna.Kijas@tufts.edu)**.
The aim of the Interest Group is to support educators who want to incorporate music encoding and related practices into educational and cultural heritage institutions within the frames established by their accrediting bodies and other governing agencies. We are interested in developing documentation with learning goals and outcomes appropriate for different levels and types of classes; identifying tools that enable such classes to support varying levels of digital literacy and computational competency generating modules with easy on ramps adaptable to many kinds of pedagogies, including assessment models; sharing expertise, particularly in pedagogical contexts; diversifying the repertoire used in instruction; and extending the digital community to include institutions and individuals who may otherwise lack support for making and teaching digital knowledge. -The Group will meet regularly during the MEC and through electronic means to identify specific projects that will advance the goals noted above, both in the short and long term, according to the needs and capacities of our members. The group will keep an archive of discussions that anyone may review. The group welcomes any member of the MEI community interested to get involved by subscribing to the mailing list [http://lists.uni-paderborn.de/mailman/listinfo/mei-pedagogy-ig](http://lists.uni-paderborn.de/mailman/listinfo/mei-pedagogy-ig) or the [MEI Slack channel](https://music-encoding.slack.com/archives/C01574RMK88) ([join the MEI Slack here](https://join.slack.com/t/music-encoding/shared_invite/zt-4zgx6zbq-2jEjDiUT7ym3dygTaY8C0g)). +The Group will meet regularly during the MEC and through electronic means to identify specific projects that will advance the goals noted above, both in the short and long term, according to the needs and capacities of our members. The group will keep an archive of discussions that anyone may review. The group welcomes any member of the MEI community interested to get involved by subscribing to the mailing list [https://lists.uni-paderborn.de/mailman/listinfo/mei-pedagogy-ig](https://lists.uni-paderborn.de/mailman/listinfo/mei-pedagogy-ig) or the [MEI Slack channel](https://music-encoding.slack.com/archives/C01574RMK88) ([join the MEI Slack here](https://join.slack.com/t/music-encoding/shared_invite/zt-4zgx6zbq-2jEjDiUT7ym3dygTaY8C0g)). diff --git a/community/mei-board/elections/2018/candidates.md b/community/mei-board/elections/2018/candidates.md index abaa8ead..278e5253 100644 --- a/community/mei-board/elections/2018/candidates.md +++ b/community/mei-board/elections/2018/candidates.md @@ -42,7 +42,7 @@ I am honoured to be nominated as a candidate in the elections for the MEI Board. #### CV and Statement -Karen Desmond is an assistant professor at Brandeis University. She held a visiting assistant professorship at Harvard University (Spring 2018), and will be a visiting fellow at Clare Hall, Cambridge, in the Spring of 2019. She has taught and/or held postdoctoral fellowships at University College Cork, the University of Cologne and McGill University. Her monograph Music and the moderni, 1300-1350: The ars nova in Theory and Practice (Cambridge University Press, 2018) challenges prevailing accounts of the ars nova. Awards include an NEH Research Fellowship, an SSHRC Banting Fellowship, and a Provost's Innovation Grant from Brandeis University. She has begun work on her second monograph, tentatively titled Torso: Understanding the polyphony of late medieval England from its fragmentary remains. Other completed projects include her translation of Lambert’s Ars musica, edited by Christian Meyer (Ashgate, 2015), The Montpellier Codex: The Final Fascicle, a collection of essays co-edited with Catherine Bradley (The Boydell Press, 2018). Desmond’s article ‘Texts in Play’ (Musica disciplina 2013) analyses a previously unedited comprehensive treatise on the ars nova possibly written by Philippe de Vitry: her online edition of this treatise is available at http://www.arsmusicae.org. Desmond’s website of late medieval motets digitally encoded in mensural notation is available at http://www.measuringpolyphony.org. Desmond has served on the Program Committee of the Music Encoding Conference, and was the Program Committee Chair for the 2018 Annual Music Encoding Conference (College Park, MD). She has recently been appointed chair of the American Musicological Society’s Board Committee on Technology for a three-year term. +Karen Desmond is an assistant professor at Brandeis University. She held a visiting assistant professorship at Harvard University (Spring 2018), and will be a visiting fellow at Clare Hall, Cambridge, in the Spring of 2019. She has taught and/or held postdoctoral fellowships at University College Cork, the University of Cologne and McGill University. Her monograph Music and the moderni, 1300-1350: The ars nova in Theory and Practice (Cambridge University Press, 2018) challenges prevailing accounts of the ars nova. Awards include an NEH Research Fellowship, an SSHRC Banting Fellowship, and a Provost's Innovation Grant from Brandeis University. She has begun work on her second monograph, tentatively titled Torso: Understanding the polyphony of late medieval England from its fragmentary remains. Other completed projects include her translation of Lambert’s Ars musica, edited by Christian Meyer (Ashgate, 2015), The Montpellier Codex: The Final Fascicle, a collection of essays co-edited with Catherine Bradley (The Boydell Press, 2018). Desmond’s article ‘Texts in Play’ (Musica disciplina 2013) analyses a previously unedited comprehensive treatise on the ars nova possibly written by Philippe de Vitry: her online edition of this treatise is available at https://arsmusicae.org/. Desmond’s website of late medieval motets digitally encoded in mensural notation is available at https://measuringpolyphony.org/. Desmond has served on the Program Committee of the Music Encoding Conference, and was the Program Committee Chair for the 2018 Annual Music Encoding Conference (College Park, MD). She has recently been appointed chair of the American Musicological Society’s Board Committee on Technology for a three-year term. ## Ichiro Fujinaga @@ -72,6 +72,6 @@ Since 2011 I’m working at the Leipzig Bach Archive and there I’m involved in I feel honoured to have been nominated as member of the MEI Board. It is a privilege to serve the community and a pleasure to work with so many great people. -For more than five years now I am strongly interested in MEI. I introduced it in Leipzig and try to encourage and help others using it. I am particularly interested in music engraving in combination with MEI. So I invented MEILER (https://github.com/rettinghaus/MEILER) and take part in the development of Verovio (http://www.verovio.org/). +For more than five years now I am strongly interested in MEI. I introduced it in Leipzig and try to encourage and help others using it. I am particularly interested in music engraving in combination with MEI. So I invented MEILER (https://github.com/rettinghaus/MEILER) and take part in the development of Verovio (https://www.verovio.org/). Being a board member, I hope to be able to put even more love and time into MEI. diff --git a/community/mei-board/elections/2020/candidates.md b/community/mei-board/elections/2020/candidates.md index 75aa6a47..a0c08238 100644 --- a/community/mei-board/elections/2020/candidates.md +++ b/community/mei-board/elections/2020/candidates.md @@ -12,7 +12,7 @@ Candidates for the MEI Elections are invited to send along a brief CV and Candid #### CV -The focus of my activities in the last 15 years is the field of Born Digital Scholarly Editions. After a PhD on Dvorak’s Solo Concertos at the Ludwig-Maximilians-Universität Munich, I worked at four DH projects: a database of musicians ([Bayerisches Musiker-Lexikon Online](http://www.bmlo.lmu.de/)), a database of sources ([Mozart Libretti – Online Catalog](https://dme.mozarteum.at/DME/libretti-catalog/)), a TEI-based scholarly text edition ([Mozart Libretti – Online Edition](https://dme.mozarteum.at/DME/libretti-edition/)) and a MEI-based scholarly music edition ([Digital Interactive Mozart Edition](https://dme.mozarteum.at/movi/en)). Within the last project, I actually coordinate the digital publication of the reference texts and the development of workflows for the encoding in MEI. We have so far encoded and published more than 30 works by Mozart in almost all music genres: piano, chamber, orchestral, opera and church music. +The focus of my activities in the last 15 years is the field of Born Digital Scholarly Editions. After a PhD on Dvorak’s Solo Concertos at the Ludwig-Maximilians-Universität Munich, I worked at four DH projects: a database of musicians ([Bayerisches Musiker-Lexikon Online](https://www.bmlo.lmu.de/)), a database of sources ([Mozart Libretti – Online Catalog](https://dme.mozarteum.at/DME/libretti-catalog/)), a TEI-based scholarly text edition ([Mozart Libretti – Online Edition](https://dme.mozarteum.at/DME/libretti-edition/)) and a MEI-based scholarly music edition ([Digital Interactive Mozart Edition](https://dme.mozarteum.at/movi/en)). Within the last project, I actually coordinate the digital publication of the reference texts and the development of workflows for the encoding in MEI. We have so far encoded and published more than 30 works by Mozart in almost all music genres: piano, chamber, orchestral, opera and church music. #### Statement diff --git a/community/mei-by-laws.md b/community/mei-by-laws.md index 7238d267..3bdc2a24 100644 --- a/community/mei-by-laws.md +++ b/community/mei-by-laws.md @@ -37,7 +37,7 @@ Institutional Membership in MEI is available for any form of organization, proje There are three levels of Institutional Membership: An institution that sponsors MEI with an annual contribution of $500, $2000, or $5000 or more will be designated a ‘regular’, ‘patron’, or ‘sustaining’ MEI Institutional Member, respectively. Other forms of in-kind commitment with the same value as the annual fees above, such as staff time or administrative support, may substitute for monetary contributions. -The logos of sponsoring organizations will appear on publications by the [MEI Board](https://music-encoding.org/community/mei-board.html) (e.g. conference proceedings, guidelines) and on [http://www.music-encoding.org](http://www.music-encoding.org). While the logos of sustaining Institutional Members will appear on title pages and on the welcome page of the website, those of patron and regular Institutional Members will appear in a dedicated section. +The logos of sponsoring organizations will appear on publications by the [MEI Board](https://music-encoding.org/community/mei-board.html) (e.g. conference proceedings, guidelines) and on [https://www.music-encoding.org](https://www.music-encoding.org). While the logos of sustaining Institutional Members will appear on title pages and on the welcome page of the website, those of patron and regular Institutional Members will appear in a dedicated section. All Institutional members in good standing have the right to display the MEI logo on any MEI-related publications or products they create or distribute that conform to the license under which MEI is distributed. @@ -144,7 +144,7 @@ Any institution interested in promoting the goals and purpose of MEI may apply t ### 7.1 Rights & Duties -Host Institutions will be allowed to designate a representative of their organization as a regular member of the MEI Board. The logos of Host Institutions will appear on the first page of publications by the MEI Board (e.g. conference proceedings, guidelines) and on the welcome page of [http://www.music-encoding.org](http://www.music-encoding.org). The Host Institution will be allowed to advertise themselves as a MEI Host Institution. Other rights and duties both of MEI and a Host Institution are subject to individual agreements between the institution and the Board. These agreements shall be fixed in written form. Example agreements may include: provision of technical or administrative support of MEI through the Host Institution, installing an MEI-related working group at the Host Institution, etc. +Host Institutions will be allowed to designate a representative of their organization as a regular member of the MEI Board. The logos of Host Institutions will appear on the first page of publications by the MEI Board (e.g. conference proceedings, guidelines) and on the welcome page of [https://www.music-encoding.org](https://www.music-encoding.org). The Host Institution will be allowed to advertise themselves as a MEI Host Institution. Other rights and duties both of MEI and a Host Institution are subject to individual agreements between the institution and the Board. These agreements shall be fixed in written form. Example agreements may include: provision of technical or administrative support of MEI through the Host Institution, installing an MEI-related working group at the Host Institution, etc. ## 8 Interest Groups diff --git a/conference/code-of-conduct.md b/conference/code-of-conduct.md index f288fe00..63f5275f 100644 --- a/conference/code-of-conduct.md +++ b/conference/code-of-conduct.md @@ -25,11 +25,11 @@ Conference staff will keep the name and identity of any reports confidential unl ## Acknowledgements This policy is adapted from the policies of: -* ACRL/NY: http://acrlny.org/about2/code-of-coduct +* ACRL/NY: https://acrlny.org/about2/code-of-conduct * CritLib Unconference 2015: http://critlib2015.weebly.com/code-of-conduct.html -* Ontario Library Association Super Conference 2018: http://www.olasuperconference.ca/about/code-of-conduct/ -* Foss4G 2017: http://2017.foss4g.org/about/Code-of-Conduct.pdf -* Tufts Social Science Librarians Bootcamp 2020: http://sites.tufts.edu/sslbc2020/code-of-conduct and https://sites.tufts.edu/sslbc2020/code-of-conduct/attendee-procedure +* Ontario Library Association Super Conference 2018: https://www.olasuperconference.ca/about/code-of-conduct/ +* Foss4G 2017: https://2017.foss4g.org/about/Code-of-Conduct.pdf +* Tufts Social Science Librarians Bootcamp 2020: https://sites.tufts.edu/sslbc2020/code-of-conduct and https://sites.tufts.edu/sslbc2020/code-of-conduct/attendee-procedure This policy is licensed under the Creative Commons Zero license. It is public domain, no credit and no open licensing of your version is required. Most recent update: April 2021. diff --git a/conference/hosting-guidelines.md b/conference/hosting-guidelines.md index 252db850..2edc7952 100644 --- a/conference/hosting-guidelines.md +++ b/conference/hosting-guidelines.md @@ -30,7 +30,7 @@ Nevertheless, hosting proposals are welcome from any location. ### Venue -The venue of the conference should be near or well-connected to the city center by public transportation (train or airplane) and offer a variety of accommodation options. Planners should pay particular attention to the accessibility needs of all participants for the venue (including any off-site activities), lodging facilities, and travel options. Hosts are encouraged to follow best practices guidelines, such as those found at [https://www.sigaccess.org/welcome-to-sigaccess/resources/accessible-conference-guide/](https://www.sigaccess.org/welcome-to-sigaccess/resources/accessible-conference-guide/), to help with this aspect of conference planning. Accounting for continued growth in attendance, three to five rooms, each comfortably seating about 20 to 30 participants, should be available for the pre-conference tutorials and workshops, scheduled one day in advance of the main conference. These rooms should have excellent internet connectivity, projection equipment, and ample power outlets. Ideally, these rooms will be located within a short distance of each other. For the main conference, at least one room seating 120 people should be available. Projection and audio capabilities (for the speaker and music playback) must be provided. In recent years, the main conference has started with an opening keynote on the first evening; that is, on the tutorial/workshop day. Therefore, the main room (or a similarly suited alternative) should be available beginning on day one. During the whole of MEC, wireless access should be available for all registered participants, preferably allowing the connection of multiple devices by the same user. Connectivity to the “Eduroam” network ([www.eduroam.org](http://www.eduroam.org)) is desirable. Sufficient power outlets (or multiplier cables) must be available. Between 10 and 15 posters are to be expected for the poster session, typically held on day two, for which stands, attachment material, tables for accompanying demonstrations must be provided. Ideally, power outlets should be available close to the poster stands. If possible, the posters should be displayed in a room close to the main conference room, and the posters should remain available for viewing after the poster session; that is, throughout days three and four. For the un-conference day (day 4), room requirements are less predictable. In general, a setup like the pre-conference day; that is, several small, closely collocated rooms, is most appropriate. Adequate space in the main venue should be available for refreshments/lunches. A boxed lunch is a good option since it is low-cost and requires minimal set-up, clean-up and transition time. As an alternative, lunches and refreshments should be served at a very short walking distance from the main venue. +The venue of the conference should be near or well-connected to the city center by public transportation (train or airplane) and offer a variety of accommodation options. Planners should pay particular attention to the accessibility needs of all participants for the venue (including any off-site activities), lodging facilities, and travel options. Hosts are encouraged to follow best practices guidelines, such as those found at [https://www.sigaccess.org/welcome-to-sigaccess/resources/accessible-conference-guide/](https://www.sigaccess.org/welcome-to-sigaccess/resources/accessible-conference-guide/), to help with this aspect of conference planning. Accounting for continued growth in attendance, three to five rooms, each comfortably seating about 20 to 30 participants, should be available for the pre-conference tutorials and workshops, scheduled one day in advance of the main conference. These rooms should have excellent internet connectivity, projection equipment, and ample power outlets. Ideally, these rooms will be located within a short distance of each other. For the main conference, at least one room seating 120 people should be available. Projection and audio capabilities (for the speaker and music playback) must be provided. In recent years, the main conference has started with an opening keynote on the first evening; that is, on the tutorial/workshop day. Therefore, the main room (or a similarly suited alternative) should be available beginning on day one. During the whole of MEC, wireless access should be available for all registered participants, preferably allowing the connection of multiple devices by the same user. Connectivity to the “Eduroam” network ([https://eduroam.org/](https://eduroam.org/)) is desirable. Sufficient power outlets (or multiplier cables) must be available. Between 10 and 15 posters are to be expected for the poster session, typically held on day two, for which stands, attachment material, tables for accompanying demonstrations must be provided. Ideally, power outlets should be available close to the poster stands. If possible, the posters should be displayed in a room close to the main conference room, and the posters should remain available for viewing after the poster session; that is, throughout days three and four. For the un-conference day (day 4), room requirements are less predictable. In general, a setup like the pre-conference day; that is, several small, closely collocated rooms, is most appropriate. Adequate space in the main venue should be available for refreshments/lunches. A boxed lunch is a good option since it is low-cost and requires minimal set-up, clean-up and transition time. As an alternative, lunches and refreshments should be served at a very short walking distance from the main venue. ### People @@ -38,7 +38,7 @@ Organization of a successful MEI conference requires the active participation of ### Conference website and conference management software -The OC is responsible for creating and managing a conference website where all information is promptly and clearly published, following the planned schedule. The MEI website will redirect the page [https://music-encoding.org/conference](https://music-encoding.org/conference) to the current conference website. Previous conference websites (which were managed directly by MEI until 2015) are available at [https://music-encoding.org/conference/past.html](https://music-encoding.org/conference/past.html). Since it has far-reaching effects on organizers, submitters, and registrants alike, the use of conference management software is an absolute requirement. Furthermore, unless serious legal or technical issues prevent it, the use of the ConfTool conference management system ([http://conftool.net](http://conftool.net)) is required for MEC. Potential hosts are encouraged to discuss any legal or technical difficulties with the MEI Board early in the submission process. Set-up and maintenance of the software is a responsibility that should be assigned to a member of the OC who is comfortable with the technical and time commitment. The OC member with this role provides an interface between the PC and the OC and must work well with both committees. The MEI Board will provide initial advice/assistance to the ConfTool manager and financial assistance, if funds are available. +The OC is responsible for creating and managing a conference website where all information is promptly and clearly published, following the planned schedule. The MEI website will redirect the page [https://music-encoding.org/conference](https://music-encoding.org/conference) to the current conference website. Previous conference websites (which were managed directly by MEI until 2015) are available at [https://music-encoding.org/conference/past.html](https://music-encoding.org/conference/past.html). Since it has far-reaching effects on organizers, submitters, and registrants alike, the use of conference management software is an absolute requirement. Furthermore, unless serious legal or technical issues prevent it, the use of the ConfTool conference management system ([https://www.conftool.net](https://www.conftool.net)) is required for MEC. Potential hosts are encouraged to discuss any legal or technical difficulties with the MEI Board early in the submission process. Set-up and maintenance of the software is a responsibility that should be assigned to a member of the OC who is comfortable with the technical and time commitment. The OC member with this role provides an interface between the PC and the OC and must work well with both committees. The MEI Board will provide initial advice/assistance to the ConfTool manager and financial assistance, if funds are available. ### Financial considerations diff --git a/conference/mec_proceedings.bib b/conference/mec_proceedings.bib index b2c2c73c..5721fb4f 100644 --- a/conference/mec_proceedings.bib +++ b/conference/mec_proceedings.bib @@ -5,7 +5,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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.}, @@ -20,7 +20,7 @@ @inproceedings{Roland_2016b abstract = {Foreword of the Music Encoding Conference 2013 and 2014 proceedings.}, author = {Roland, Perry and Kepper, Johannes}, title = {{Foreword}}, - url_URN = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -37,7 +37,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -51,7 +51,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -65,7 +65,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -79,7 +79,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -93,7 +93,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -107,7 +107,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -121,7 +121,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -135,7 +135,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -149,7 +149,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -163,7 +163,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -177,7 +177,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -192,7 +192,7 @@ @inproceedings{Hild_2016 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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -206,7 +206,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -220,7 +220,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -234,7 +234,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -248,7 +248,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -262,7 +262,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -279,7 +279,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -293,7 +293,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -311,7 +311,7 @@ @inproceedings{Bemman_2016 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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -325,7 +325,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -339,7 +339,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -353,7 +353,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -367,7 +367,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -381,7 +381,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, @@ -395,7 +395,7 @@ @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 = {http://nbn-resolving.de/urn:nbn:de:bvb:12-babs2-0000007812}, + 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}, diff --git a/index.html b/index.html index 6effb3f0..ebb4f3a3 100644 --- a/index.html +++ b/index.html @@ -65,7 +65,7 @@

Music Encoding Initiative

The Music Encoding Initiative (MEI) is a community-driven, open-source effort to define a system for encoding musical documents in a machine-readable structure. MEI brings together specialists from various music research communities, including technologists, librarians, historians, and theorists in a common effort to define best practices for representing a broad range of musical documents and structures. The results of these discussions are formalized in the MEI schema, a core set of rules for recording physical and intellectual characteristics of music notation documents expressed as an eXtensible Markup Language (XML) schema. It is complemented by the MEI Guidelines, which provide detailed explanations of the components of the MEI model and best practices suggestions. Read more …

- MEI is hosted by the Akademie der Wissenschaften und der Literatur, + MEI is hosted by the Akademie der Wissenschaften und der Literatur, Mainz.

@@ -76,12 +76,12 @@

Music Encoding Initiative

MEI is sponsored by the following Institutional Members:
- + TIDO logo
- + ZenMEM logo
diff --git a/unused/community.md b/unused/community.md index 3f3ee077..cb609693 100644 --- a/unused/community.md +++ b/unused/community.md @@ -3,8 +3,8 @@ layout: default title: "Community" --- -MEI is a non-profit, community-based organization, whose members are institutions as universities, libraries, academic projects, research units, and individuals. The [Akademie der Wissenschaften und der Literatur Mainz](http://www.adwmainz.de/startseite.html "Mainz Akademie") serves as the host institution for the MEI community. For this purpose, a working group called "Arbeitskreis Musikcodierung" ("Working Group on Music Encoding") was created in February 2014, with Prof. Kurt Gärtner as convenor. By doing so, the Academy has granted access to Academy resources, such as administrative support and Academy venues, free of charge for MEI community meetings, conferences, workshops, and other gatherings. The Academy also administers funds for MEI. +MEI is a non-profit, community-based organization, whose members are institutions as universities, libraries, academic projects, research units, and individuals. The [Akademie der Wissenschaften und der Literatur Mainz](https://www.adwmainz.de/startseite.html "Mainz Akademie") serves as the host institution for the MEI community. For this purpose, a working group called "Arbeitskreis Musikcodierung" ("Working Group on Music Encoding") was created in February 2014, with Prof. Kurt Gärtner as convenor. By doing so, the Academy has granted access to Academy resources, such as administrative support and Academy venues, free of charge for MEI community meetings, conferences, workshops, and other gatherings. The Academy also administers funds for MEI. In December 2014 the first [MEI Board](https://music-encoding.org/community/mei-board.html "MEI Board") was elected, consisting of three members each for terms of 2, 3 or 4 years. The MEI Board is supported by a [Technical Team](https://music-encoding.org/community/technical-team.html "Technical Team"). -Community Membership in MEI is open to anyone with an interest in supporting the goals and purpose of MEI. There are two types of membership: Personal and Institutional Membership. For detailed information please refer to the [MEI By-laws](https://music-encoding.org/community/mei-by-laws.html "By-laws"). \ No newline at end of file +Community Membership in MEI is open to anyone with an interest in supporting the goals and purpose of MEI. There are two types of membership: Personal and Institutional Membership. For detailed information please refer to the [MEI By-laws](https://music-encoding.org/community/mei-by-laws.html "By-laws"). diff --git a/unused/organization.md b/unused/organization.md index f879af2d..5322a8bc 100644 --- a/unused/organization.md +++ b/unused/organization.md @@ -2,6 +2,6 @@ layout: default title: "Organization" --- -MEI is a non-profit, community-based organization, whose members are individuals and institutions -- universities, libraries, academic projects, research units, etc. The [Akademie der Wissenschaften und der Literatur Mainz](http://www.adwmainz.de/startseite.html) serves as the host institution for the MEI community. +MEI is a non-profit, community-based organization, whose members are individuals and institutions -- universities, libraries, academic projects, research units, etc. The [Akademie der Wissenschaften und der Literatur Mainz](https://www.adwmainz.de/startseite.html) serves as the host institution for the MEI community. In December 2014, the initial [MEI Board](https://web.archive.org/web/20150710210003/http://music-encoding.org/community/mei-organization/mei-board/ "MEI Board") was elected, consisting of three 3-member groups, each group serving a term of 2, 3 or 4 years. The Board is supported by a [Technical Team](https://web.archive.org/web/20150710210448/http://music-encoding.org:80/community/mei-organization/technical-team/ "Technical Team").