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| # macOS | ||
| .DS_Store | ||
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| # various IDEs | ||
| .idea/ | ||
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| --- | ||
| layout: post | ||
| title: "MEI Board: Candidate statements 2024" | ||
| date: 2024-11-27 | ||
| categories: update | ||
| --- | ||
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| We are pleased to announce the candidates for the 2024 MEI Board elections. | ||
| For details, please see their [CVs and candidate statements](/community/mei-board/elections/2024/candidates.html). |
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| layout: default | ||
| title: "2024 Board Election Candidate Statements" | ||
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| # 2024 Board Election Candidates | ||
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| Candidates for the MEI Elections are invited to send along a brief CV and | ||
| Candidate Statement. | ||
| These are provided below, ordered alphabetically by surname. | ||
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| * [Benjamin W. Bohl](#benjamin-w-bohl) | ||
| * [Martha Thomae Elias](#martha-thomae-elias) | ||
| * [Anna E. Kijas](#anna-e-kijas) | ||
| * [Joshua Neumann](#joshua-neumann) | ||
| * [Klaus Rettinghaus](#klaus-rettinghaus) | ||
| * [Kristina Richts-Matthaei](#kristina-richts-matthaei) | ||
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| ## Benjamin W. Bohl | ||
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| ### CV | ||
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| Born in 1983 Benjamin finished his studies in musicology in 2008 with his M.A. | ||
| thesis on “Combinatorics as a method of composition. Studies on Francesco | ||
| Saverio Geminiani’s ›Guida Armonica o Dizionario Armonico‹“, including a digital | ||
| edition of the treatise. His affiliation with MEI started with his work at the | ||
| Edirom project at Detmold in 2009 and has continued in several other research | ||
| contexts. After beginning as an editor at the Bernd Alois | ||
| Zimmermann-Gesamtausgabe in 2016, Benjamin today is the project’s research | ||
| software engineer. The insights gained as an editor help him identify community | ||
| and user needs for his tool development, e.g. the oXygen-MEI-addon. | ||
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| ### Candidate Statement | ||
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| MEI has been a central aspect of my day-to-day work since the beginning of my | ||
| professional career. Seeing it implemented as the backbone of the Edirom | ||
| software was only the first step of a worthwhile engagement with both the format | ||
| and the emerging community. I was fascinated by the fact that working with MEI | ||
| meant working with music professionals worldwide. Seeing all the effort done to | ||
| bring together such things as critical editions, diverse historical notations, | ||
| or music analysis in a single format on the sole basis of shared interest was | ||
| the spirit that fuelled my commitment to MEI. | ||
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| As Board member, I would love to care for preserving and spreading this spirit | ||
| by promoting open communication standards to foster a high rate of community | ||
| involvement. Although these general issues might not promote new features in | ||
| MEI’s encoding guidelines, I see them as the central aspect of MEI’s success. | ||
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| Moreover, I envision more frequent stable releases of the MEI schemata and | ||
| guidelines and wou would love to foster this through my engagement as Technical | ||
| Co-Chair in improving and automating the build and release processes of the MEI | ||
| schemata and guidelines. | ||
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| ## Martha Thomae Elias | ||
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| ### CV | ||
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| I am a postdoctoral research fellow for the ECHOES project at NOVA University of | ||
| Lisbon, where I lead the development of digital tools to support search and | ||
| analysis of chants encoded in MEI. With a PhD and Master’s in Music Technology | ||
| from McGill University and a Bachelor’s in Mathematics from Universidad del | ||
| Valle de Guatemala, my academic journey bridges technology, music, and cultural | ||
| preservation. | ||
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| At McGill’s Distributed Digital Music Archives and Libraries (DDMAL) Lab, I | ||
| contributed to the Single Interface for Music Score Searching and Analysis ( | ||
| SIMSSA) Research Project, directed by Ichiro Fujinaga, which focuses on | ||
| developing computational methods for recognizing music symbols in digital images | ||
| of music documents. | ||
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| In my independent research, I have specialized in the preservation and encoding | ||
| of mensural music. I developed the Automatic Scoring-up Tool for mensural | ||
| notation, later integrating it into the Measuring Polyphony Editor. My PhD | ||
| dissertation focused on digitizing and encoding a Guatemalan polyphonic | ||
| choirbook from the colonial period, using optical music recognition, automatic | ||
| scoring up, and computational error detection techniques to preserve this | ||
| valuable repertoire. | ||
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| ### Candidate Statement | ||
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| I previously served on the MEI Board, where I focused on advocating for early | ||
| music notations, specifically mensural and neume notations. Since then, I have | ||
| taught workshops on early music encoding, including sessions on mensural | ||
| notation at the Medieval and Renaissance Music Conference (2023) alongside Anna | ||
| Plaksin, and neume notation at the same conference (2024) with Elsa De Luca. | ||
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| If elected to the Board, I aim to expand MEI’s presence in Latin America by | ||
| building on my collaborations with Digital Humanities organizations in the | ||
| region, particularly through connections facilitated by Gimena del Rio Riande. | ||
| Over the past two years, I have led Spanish-language MEI workshops in Latin | ||
| America, including online sessions during Semana HD (2023 and 2024) and an | ||
| in-person workshop at the TEI conference in Argentina (2024). | ||
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| Additionally, I am honored to deliver the closing keynote for the first Latin | ||
| American Music Information Retrieval (LAMIR) workshop. These recent developments | ||
| have prepared me to help expand the MEI community in Latin America, fostering | ||
| its integration within the broader digital humanities landscape. | ||
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| ## Anna E. Kijas | ||
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| ### CV | ||
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| Anna E. Kijas is the Assistant Director of Digital Scholarship and Lilly Music | ||
| Library at Tufts University. Her academic training includes master’s degrees in | ||
| library and information science from Simmons College, music with a concentration | ||
| in musicology from Tufts University, as well as a bachelor of arts in music | ||
| literature and performance from Northeastern University. In 2022, Anna | ||
| co-founded [Saving Ukrainian Cultural Heritage Online](https://www.sucho.org/), | ||
| an initiative focused on safeguarding and preserving the digital cultural | ||
| heritage of Ukraine during the Russo-Ukrainian War. | ||
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| Through musicology and libraries she became involved with digital humanities, | ||
| exploring and pursuing ways in which computational methods and tools can augment | ||
| scholarship and publishing. Anna’s interests are centered in pedagogical | ||
| approaches and application of digital humanities tools and methods in historical | ||
| research, and in the use of standards, including TEI and MEI, for open access | ||
| research and publishing. She is also interested in supporting sustainable ways | ||
| of developing digital projects through the use of minimal computing. Since 2018, | ||
| Anna has been leading an open-access music incipit encoding | ||
| project, [Rebalancing the Music Canon](https://rebalancing-music-canon.com/) | ||
| that focuses on making works by historically un(der)-represented people more | ||
| discoverable, decentering the musical canon, and making data-driven music | ||
| scholarship more diverse and inclusive. More info at <https://annakijas.com/>. | ||
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| ### Candidate Statement | ||
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| I have been actively contributing to and participating in the MEI community for | ||
| the past seven years, including serving as a co-chair of the Digital Pedagogy | ||
| Interest Group (2020-2023), Administrative Chair of the MEI Board (2022-2024), | ||
| MEC host (2020), and a member of multiple MEC program committees. It would be an | ||
| honor to be elected and serve on the MEI Board once more. I would bring a unique | ||
| perspective based on my experiences as both a scholar and librarian who is | ||
| interested in pushing the boundaries of musicology (and humanities, in general) | ||
| not only through the application of computational methods, but also by | ||
| considering issues around diversity, accessibility, and sustainability in the | ||
| data we create or curate, the research we do, and the projects we develop. | ||
| Through the MEI Board, I would advocate for an inclusive and praxis-focused | ||
| approach to the ongoing development of MEI. I would continue to identify ways in | ||
| which the MEI can support an inclusive and diverse membership, especially by | ||
| fostering and supporting emerging or early-career scholars and students. | ||
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| ## Joshua Neumann | ||
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| ### CV | ||
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| Following a BMus in Music Performance and MM in Music History, Joshua Neumann | ||
| authored one of the first digital musicology PhD dissertations in the United | ||
| States, focused on performing traditions in Italian Opera and supported by | ||
| grants from the US Department of Education and the University of Florida. He | ||
| recently completed a term as Executive Editor of The Opera Journal, and | ||
| currently serves as co-chair of MEI’s Digital Pedagogy Interest Group. Joining | ||
| the Academy of Sciences and Literature in Mainz in 2021, his introduction to the | ||
| MEI community came through the conversion of theJoseph Haydn Werke metadata into | ||
| MEI. He is currently running a project focused on integrating vocal performance | ||
| analysis with notation expression variant-inclusive MEI as a means of examining | ||
| Dietrich Fischer-Dieskau’s long association with Die Winterreise in relationship | ||
| to modern conceptions of the cycle. | ||
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| ### Candidate Statement | ||
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| My interest in serving on the MEI Board emanates from my belief in leveraging | ||
| the power of digital spaces for enhanced democratization and access to | ||
| scholarship, especially documentation and preservation of musical creative | ||
| practice and various kinds of musical documents from diverse populations. MEI | ||
| rightly situates itself as the world leading standard for representing a broad | ||
| range of musical documents and structures and is primed for adaptation for use | ||
| with additional musical traditions, both notated and aural/oral. Currently | ||
| serving as co-chair of the Digital Pedagogy IG has impressed upon me the need | ||
| for being proactive about expanding within the community, and developing | ||
| strategic partnerships is a natural possibility. One example is the development | ||
| of a partnered-driven pilot project to introduce MEI as cultural preservation | ||
| and interdisciplinary education in American secondary schools. Pursuing | ||
| opportunities to expand the community and how the technological development both | ||
| contribute to MEI’s sustainability and usability as a means of democratizing | ||
| music scholarship, cultural preservation, and access thereto. | ||
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| ## Klaus Rettinghaus | ||
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| ### CV | ||
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| I received my diploma in astrophysics from the Technical University of Berlin in | ||
| 2007 with a thesis on solar winds. I completed my studies in musicology and | ||
| Protestant theology at the Humboldt University of Berlin in 2012 with a | ||
| dissertation on the sacred works of Otto Nicolai at the Technical University of | ||
| Berlin. After my doctorate, I worked at the Bach Archive Leipzig from 2011 to | ||
| 2020, where I was responsible for the structural and technical development of | ||
| Bach digital. For the last four years I have been working as a music engraving | ||
| technologist at Enote GmbH in Berlin and lead the internal Verovio development | ||
| group. Within the MEI community, I am a permanent member of the MEI technical | ||
| team and several interest groups. My academic involvement also includes the | ||
| position of co-convener of the Digital Musicology section of the German | ||
| Musicological Society (GfM). | ||
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| ### Candidate Statement | ||
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| I am honoured to have been nominated again as a candidate for the upcoming | ||
| election of the MEI Board of Directors. It is a privilege to serve as part of | ||
| this great community. I would very much like to continue my work on the Board | ||
| and contribute my expertise in any way I can. In particular, I would like to | ||
| continue to support the development of Verovio, SibMEI, MuseScore and other | ||
| tools that build on MEI to meet the diverse needs of community members. | ||
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| ## Kristina Richts-Matthaei | ||
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| ### CV | ||
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| Kristina Richts-Matthaei works as a digital humanist at the interface between | ||
| library and information science and (digital) musicology. She has been in | ||
| contact with MEI for many years and has been primarily involved in the metadata | ||
| area and it’s further development. She was spokesperson for the MEI Metadata | ||
| Group for many years. Since January 2024, she has been head of the Centre for | ||
| Digital Music Documentation (CDMD) at the Academy of Sciences and Literature in | ||
| Mainz, where she is responsible for all digital aspects of long-term | ||
| musicological projects in the Academy's program (data standards, data curation, | ||
| long-term archiving, documentation of data processes, project consulting, etc.) | ||
| as well as the development of a specialist contact point for the conception, | ||
| coordination and further development of digital work catalogs in music and | ||
| digital transformation processes for musicological metadata as a whole. In | ||
| addition, she is currently leading a DFG project to further develop the MerMEId | ||
| metadata editor and is MerMEId Community Manager. | ||
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| ### Candidate Statement | ||
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| My general interest in MEI is to help to develop it into a data format that | ||
| complies with FAIR & CARE principles and that can be used in all parts of the | ||
| world for recording musicological phenomena. The MEI community has always proved | ||
| to be a very friendly and open-minded community, and this should remain so in | ||
| these difficult times. | ||
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| As my focus is mainly on metadata, I would like to work towards being a neutral | ||
| international point of contact for digital catalogs of works based on the MEI | ||
| standard, from conceptualization to digital implementation. This will still | ||
| require a lot of community-based coordination in order to bring together the | ||
| various approaches in the best possible way and to integrate additional | ||
| recording options that have not yet been considered, such as the recording of | ||
| audio metadata. In this context, it is also important to enhance the ways MEI | ||
| interacts with Linked Open Data, thus enriching interoperability of MEI with | ||
| other standards. |