add mei publications

resources/mei_bibliography.bib

@@ -423,6 +423,16 @@ @incollection{Kijas_2019
  keywords = {tutorial}
 }
 
+@article{Kijas_2023,
+ abstract = {In this roundtable article, we present five essays from emerging scholars, librarians, and music faculty who are using music encoding as a pedagogical tool with undergraduate and graduate students in academic library and university settings. In these case studies and applications, the contributors are all using the Music Encoding Initiative (MEI), one of several music encoding standards. MEI is used to represent musical documents through the application of an MEI schema, or a set of rules for encoding physical and intellectual characteristics of musical sources, which are then expressed in XML. The MEI standard for encoding music is used increasingly to create both machine readable scores and to develop new digital musicology projects that can serve as information resources for scholars and students alike.},
+ author = {Kijas, Anna and Calico, Joy and Schaub, Jake and Plaksin, Anna and Grimmer, Jessica and Merch\'{a}n S\'{a}nchez-Jara, Javier F. and Gonz\'{a}lez Guti\'{e}rrez, Sara},
+ year = {2023},
+ title = {Roundtable: Pedagogical Approaches to Music Encoding},
+ url = {https://www.tandfonline.com/doi/full/10.1080/01411896.2023.2231837},
+ journal = {Journal of Musicological Research},
+ doi = {10.1080/01411896.2023.2231837}
+}
+
 
 @inproceedings{Krabbe_2012,
  abstract = {The Danish Centre for Music Publication (DCM) was founded in the spring of 2009, building on the philological expertise of \textit{The Carl Nielsen Edition, }which had published its 33rd and final volume in March 2009. The purpose of the DCM was, by nature, broader than that of \textit{The Carl Nielsen Edition, }standing so to speak on two legs: one is the edition of unknown music kept in the library to be used by scholars and musicians and based on a philological approach, the other is the development of ways to disseminate the results of the Centre's work via the internet. The latter aim has resulted in developing a system for storing and presenting data, especially related to thematic catalogs, based on MEI (Music Encoding Initiative) XML. At present, the software developed at the DCM, called MerMEId (Metadata Editor and Repository for MEI Data), is used for catalogs-in-progress for the works of Carl Nielsen, Johan Svendsen, J. P. E. Hartmann, Niels W. Gade, and J. A. Scheibe. In a further perspective, MEI enables the integration of detailed metadata with the full music text, including variants and emendations within the same file in a format that is interchangeable with other software such as a graphical note editor. In our presentation, we will outline the ideas and principles behind the MerMEId software and briefly demonstrate its use, from the point of view of both the editor and the user.},
@@ -587,6 +597,21 @@ @misc{Morent_2006
  note = {{"Digitale Medien und Musikedition". Kolloquium des Ausschusses f{\"u}r musikwissenschaftliche Editionen der Union der deutschen Akademien der Wissenschaften. Mainz, Akademie der Wissenschaften}}
 }
 
+@incollection{Muennich_2023,
+ abstract = {Looking at the first three volumes of the published output from the ‘On the Genealogy of Writing’ project, there seems to be a categorical difference between writing scenes in the age of manuscripts, typescripts, or in the ‘digital age’, as it is somewhat emphatically called there. I would like to take up this differentiation and, linked to reflections on writing theory, trace the categorial differences between various types of musical writing scenes. In doing so, I will limit myself to four different types: one handwritten, one printed, one in the form of music encoding formats and their rendering (MEI and Verovio), and one that I address here as ‘semantically operationalised’. In doing so, I first elaborate observations pertaining to writing theory and findings in relation to the historically transmitted material in order to then draw conclusions about the underlying writing scene and the transductive processes negotiated in it.},
+ author = {Münnich, Stefan},
+ title = {Handwritten -- Encoded -- Semantically Operationalised: Musical Writing Scenes in the Digital Realm},
+ pages = {371--391},
+ publisher = {{Brill | Fink}},
+ isbn = {9783770567140},
+ series = {Theorie der musikalischen Schrift},
+ editor = {Celestini, Federico and Lutz, Sarah},
+ booktitle = {Musikalische Schreibszenen / Scenes of Musical Writing},
+ year = {2023},
+ address = {Paderborn},
+ doi = {10.30965/9783846767146_016}
+}
+
 
 @phdthesis{Plaksin_2021,
  abstract = {Since the analysis of transmission aims for the reconstruction of relations between sources, it focuses on the differences of rather similar items. Therefore, it is necessary to find substitution models which are optimized for distinguishing fine levels of differences and to deal with the structural ambiguities and visual variance of mensural notation. This book reports on the task of developing concepts for a computational analysis of the transmission of mensural music based on concepts of phylogenetic analysis. Part one lays the theoretical foundations, wrapping the key assumptions of stemmatics for 15th and 16th century mensural music and the computational methods of phylogenetic analysis. Part two covers in a case study the methodological and domain-specific requirements of mensural music, follows main questions of encoding and sequence-building up to an approach utilizing surrogate data analysis to determine the most suitable substitution model for a comparison of sources.},