Skip to content

Commit 5651f72

Browse files
sseki27sktsseki27skt
committed
conference: add call for proposals for MEC 2026
1 parent 17c69f6 commit 5651f72

File tree

1 file changed

+209
-0
lines changed

1 file changed

+209
-0
lines changed

‎_conferences/2026/06_call.html‎

Lines changed: 209 additions & 0 deletions
Original file line numberDiff line numberDiff line change
@@ -0,0 +1,209 @@
1+
---
2+
layout: conference
3+
title: "Call for proposals"
4+
permalink: "/conference/2026/call/"
5+
tag: MEC2026
6+
id: call
7+
---
8+
<!-- <img src="/images/conference/2026/banner.jpg" class="img-responsive" style="margin-bottom: 1em" alt="Music Encoding Conference 2026 banner"> -->
9+
<div class="mec2026-page">
10+
11+
<h1>Call for proposals</h1>
12+
<p>We are pleased to announce our call for papers, posters, panels, and workshops for
13+
the Music Encoding Conference 2026.</p>
14+
<p>The Music Encoding Conference brings together members from music encoding, analysis,
15+
performance, and research communities, including musicologists, theorists, librarians,
16+
technologists, music scholars, teachers, and students, providing an opportunity for
17+
all participants to learn from and engage with each other.</p>
18+
<p>This year, we will host lectures, panels, posters, and workshops and tutorials, but
19+
also a showcase where developers can demonstrate software tools and platforms.</p>
20+
<p>The conference will be held 26–29 May 2026 at the Tokyo University of
21+
Science on behalf of the Music Encoding Initiative community.</p>
22+
<h2 id="dates">Important dates and information</h2>
23+
<p>Conference date: 26–29 May, 2026</p>
24+
<p>Location: Morito Memorial Hall, Tokyo University of Science, Tokyo, Japan</p>
25+
<p>Deadline for proposals: Friday 28 November 2025 (Anywhere on Earth)</p>
26+
<p>Notification of acceptance: Monday 26 January 2026 </p>
27+
<p>Registration deadline for authors: 2 April 2026</p>
28+
<p>Last changes to abstracts for publication: 24 April 2026</p>
29+
<p>For further questions, please e-mail
30+
<a href="mailto:[email protected]">[email protected]</a></p>
31+
<h2 id="background">Background</h2>
32+
<p>The Music Encoding Conference&nbsp;provides a forum where researchers and
33+
practitioners from varied fields can meet and share new research built on digital music editions and,
34+
especially, research into music encoding itself. The Conference celebrates a multidisciplinary program,
35+
combining the latest advances from established music encodings, novel technical proposals and encoding
36+
extensions, and the presentation and evaluation of new practical applications of music encoding (e.g. in
37+
academic study, libraries, editions, pedagogy).</p>
38+
<p>When using and manipulating music in the digital domain, the properties and behaviours of its
39+
encoding are of fundamental importance. This applies equally for musicological study, music theory,
40+
production of digital editions, composition, performance, teaching and learning, cataloguing, symbolic music
41+
information retrieval and recommendation, or more general electronic presentation of musical material and
42+
associated narratives. It also applies for a wide range of musics,
43+
including those that are not conventionally notated at all. The study of music encoding and its applications
44+
is therefore a critical foundation for the use of music information by scholars, librarians, publishers, and
45+
the wider music industry.</p>
46+
<p>We welcome contributions from all those working on music encoding, but also
47+
those whose research builds on digital music resources or corpora. Newcomers are
48+
encouraged to submit to the main program, demonstrating with articulations of the potential for music
49+
encoding in their work, and highlighting strengths and weaknesses of existing approaches within this
50+
context. We always seek to broaden the scope of musical repertories considered, and to provide a welcoming,
51+
inclusive community for all who are interested in this work. The Music Encoding Conference is supported and
52+
organised by the Music Encoding Initiative, which will hold its annual community meeting on Friday, 6
53+
June.</p>
54+
<p>The main academic conference is preceded by pre-conference workshops and tutorials, which provide an
55+
opportunity to engage with the tools and good practices developed within the community, and this
56+
will be further reinforced by a showcase during the conference, where these tools can also be
57+
demonstrated.</p>
58+
<p>Following a formal program, unconference sessions will be held on 29th May 2025, designed to foster
59+
collaboration in the community through the meeting of Interest Groups, and open participation in
60+
discussions on hot topics that emerge during the conference. Spaces for these meetings have been
61+
generously provided by the hosting institution. As part of the conference, we would like to extend
62+
an invitation to attendees who may wish to organize additional meetings (e.g. project meetings) or
63+
other collaborative sessions in conjunction with the event. Availability of space for meetings during or
64+
immediately before or after the conference can be checked upon request. Please get in touch with conference
65+
organizers if you need to reserve these spaces.</p>
66+
<h2 id="topics">Topics</h2>
67+
<p>The conference welcomes contributions from all those who are developing or using music encodings in
68+
their work and research.</p>
69+
<p>Topics around music encoding include, but are not limited to:</p>
70+
<ul>
71+
<li>concepts, models and structures for music representation and
72+
encoding</li>
73+
<li>music encoding standardisation and interoperability</li>
74+
<li>methodologies for encoding, music editing, description and
75+
analysis</li>
76+
<li>computational analysis of encoded music</li>
77+
<li>rendering symbolic music data in audio and graphical forms
78+
</li>
79+
<li>relationships between multimodal music forms (e.g. symbolic music
80+
data, encoded text, facsimile images, audio and video)</li>
81+
<li>capture, interchange, and re-purposing of musical data and
82+
metadata</li>
83+
<li>ontologies, authority files, and linked data in music encoding
84+
and description</li>
85+
<li>(symbolic) music information retrieval using music
86+
encoding</li>
87+
<li>evaluation of music encodings</li>
88+
<li>music encoding for non-European and/or un-notated musics
89+
</li>
90+
</ul>
91+
<p>Topics concerned with use of music encoding might situate them in:</p>
92+
<ul >
93+
<li>music theory and analysis</li>
94+
<li>digital musicology and, more broadly, digital humanities</li>
95+
<li>digital editions</li>
96+
<li>music digital libraries</li>
97+
<li>bibliographies and bibliographic studies</li>
98+
<li>catalogues and collection management</li>
99+
<li>composition</li>
100+
<li>performance</li>
101+
<li>teaching and learning</li>
102+
<li>search and browsing</li>
103+
<li>multimedia music presentation, exploration, and exhibition
104+
</li>
105+
<li>machine learning approaches.</li>
106+
</ul>
107+
<h2 id="submissions">Submissions</h2>
108+
<p>The Program Committee for the Music Encoding Conference 2025 will accept proposals for papers,
109+
posters, panels, showcase demonstrations and workshops in the form of extended abstracts. All
110+
submissions will be double-blind peer-reviewed by multiple members of the
111+
committee before a decision is made on acceptance. After the review process, authors of
112+
accepted submissions will have the opportunity to make non-<span
113+
>substantive&nbsp;revisions&nbsp;before the conference, to
114+
address minor corrections or clarifications suggested during the review process. </p>
115+
<p>Please also refer to the&nbsp;statement on our website on
116+
the use of generative AI in submissions. <br>Accepted abstracts&nbsp;will be
117+
published as part of the conference program and a Book of Abstracts after the
118+
conference.</p>
119+
<p>Authors are invited to upload their anonymized submissions for review to our
120+
Conftool website:<a
121+
href="https://www.conftool.net/mec2026/">https://www.conftool.net/mec2026/</a></p>
122+
<p>The deadline for all submissions is 28 November 2025 (see <a href="dates">IMPORTANT DATES</a> above).
123+
When you upload into ConfTool, you will be asked for Title, Author information and the PDF
124+
of your submission. In addition, you will need to supply a short summary abstract and up
125+
to five keywords &ndash; these will be used for review assignment,
126+
but may also appear on the conference programme and website. Since review will be anonymous, please ensure
127+
that all identifying information is removed from your PDF before submission. </p>
128+
<p>Please see our website for templates for your PDF proposals. Word counts apply to the
129+
text of the proposal, excluding titles, keywords and references.</p>
130+
<h3>Long papers: 1000-1500 words</h3>
131+
<p>Long papers are expected to present overviews or specific aspects of ongoing or completed
132+
projects, detailed case-studies or elaborated perspectives on best practices in the field, or provide
133+
in-depth reports on topics relevant to the conference. Speakers will be given 30 minutes: 20 minutes
134+
for their presentation, and 10 minutes for discussion.</p>
135+
<h3>Short papers: 500-1000 words</h3>
136+
<p>Short papers are suitable for introducing tools, new ideas, and experimental topics. Speakers will be given
137+
15 minutes: 10 minutes for presentation, 5 minutes for discussion.</p>
138+
<h3>Panels: 1500-2000 words</h3>
139+
<p>Panels are suited to coordinated approaches or discussions relating to a single theme,
140+
or round-table discussions. Particularly welcome are those with interactive elements,
141+
such as Q&amp;A sessions or community consultation. Submissions should describe the
142+
topic and nature of the panel, along with its format, including titles and short
143+
abstracts for any presentations that will form part of the session. It should be
144+
clear from the text how any presentations are connected, and the way these will
145+
be integrated into the discussion. </p>
146+
<p>Themed sessions (independent papers relating to a single topic or project) will not be
147+
considered; instead these should be submitted as separate papers. Panel sessions
148+
will be given 90 minutes, which can be used flexibly.</p>
149+
<h3>Posters: 500-1000 words</h3>
150+
<p>Posters are expected to report on early-stage work, introduce new work, projects,
151+
or software, or present experimental ideas for community feedback. Poster presenters
152+
will have the chance to engage with interested parties more about their project during
153+
the poster exhibition, where the audience can browse freely.</p>
154+
<p><b>Poster Size:</b> maximum DIN A0 (841 x 1189 mm or 33.1 x 46.8 inches), portrait format</p>
155+
<h3>Showcase demonstrations: 500-1000 words</h3>
156+
<p>We will host a showcase session, giving the opportunity to show tools and resources
157+
in an interactive and engaging way. Presenters will be given small tables to stand
158+
demos on, and poster boards for any written information.</p>
159+
<p><b>Poster Size:</b> maximum DIN A0 (841 x 1189 mm or 33.1 x 46.8 inches), portrait format</p>
160+
<h3>Half- or full-day workshops: 1000-1500 words</h3>
161+
<p>These can be tutorials, explaining key concepts and tools, or interactive workshops,
162+
engaging participants as contributors. Proposals must also include:</p>
163+
<ul >
164+
<li>A brief outline of the topic and its appeal to the
165+
community</li>
166+
<li>The duration of the workshop or seminar (half day, full
167+
day)</li>
168+
<li>Expected audience experience level and target and maximum
169+
size</li>
170+
<li>Any special logistical and technical requirements (e.g.,
171+
participant-supplied laptops, projector, flipchart)</li>
172+
</ul>
173+
<h2 id="org">Conference organisation</h2>
174+
<h3 id="pc">Program Committee</h3>
175+
<ul >
176+
<li>David Lewis, Goldsmiths, University of London &amp; University of
177+
Oxford (chair)</li>
178+
<li>Richard Freedman, Haverford College</li>
179+
<li>Satoru Fukayama, National Institute of Advanced Industrial
180+
Science and Technology, Tokyo</li>
181+
<li>Mark Gotham, King&rsquo;s College London</li>
182+
<li>Olja Janju&scaron;, <span
183+
>Ludwig-Maximilians-Universit&auml;t M&uuml;nchen</li>
184+
<li>Anna E. Kijas, Tufts University</li>
185+
<li>Elsa De Luca, NOVA University Lisbon</li>
186+
<li>Davide Andrea Mauro, Paderborn University</li>
187+
<li>Fabian C. Moss, Julius-Maximilians-Universit&auml;t W&uuml;rzburg
188+
</li>
189+
<li>Eita Nakamura, Kyushu University</li>
190+
<li>Salome Obert, Paderborn University</li>
191+
<li>Kevin Page, University of Oxford</li>
192+
<li>Frankie Perry, University of Oxford | British Library</li>
193+
<li>Anna Plaksin, Paderborn University (chair)</li>
194+
<li>Nevin &#350;ahin, Hacettepe University Ankara State
195+
Conservatory</li>
196+
<li>Martha E. Thomae, NOVA University Lisbon</li>
197+
<li>Sandra Tuppen, British Library</li>
198+
<li>Mirjam Visscher, Utrecht University </li>
199+
<li>David M. Weigl, mdw &ndash; University of Music and Performing
200+
Arts Vienna</li>
201+
</ul>
202+
<h4 id="org">Local organizing Committee</h4>
203+
<ul >
204+
<li>Eita Nakamura, Kyushu University</li>
205+
<li>Satoru Fukayama, National Institute of Advanced Industrial Science and
206+
Technology, Tokyo</li>
207+
</ul>
208+
209+
</div>

0 commit comments

Comments
 (0)