6th International Conference on Digital Libraries for Musicology

9th November 2019

National Library of The Netherlands (The Hague)

A satellite event of ISMIR 2019.

 

News

  • 01/05/2019: Submission of papers for DLfM 2019 through EasyChair is now open!
  • 01/05/2019: We are pleased to announce that, as in previous years, DLfM proceedings will be included in the ACM Digital Library through the ICPS series. The DLfM 2019 proceedings will also be made available as Open Access proceedings through the ACM DL.

 

Call for papers

Many Digital Libraries have long offered facilities to provide multimedia content, including music. However there is now an ever more urgent need to specifically support the distinct multiple forms of music, the links between them, and the surrounding scholarly context, as required by the transformed and extended methods being applied to musicology and the wider Digital Humanities.

The Digital Libraries for Musicology (DLfM) conference presents a venue specifically for those working on, and with, Digital Library systems and content in the domain of music and musicology. This includes Music Digital Library systems, their application and use in musicology, technologies for enhanced access and organisation of musics in Digital Libraries, bibliographic and metadata for music, intersections with music Linked Data, and the challenges of working with the multiple representations of music across large-scale digital collections such as the Internet Archive and HathiTrust.

This, the Sixth Digital Libraries for Musicology conference, follows previous workshops in London, Knoxville, New York, Shanghai, and Paris. In 2019, DLfM is again proud to be a satellite event of the annual International Society for Music Information Retrieval (ISMIR) conference which is being held in Delft, and in particular encourages reports on the use of MIR methods and technologies within Music Digital Library systems when applied to the pursuit of musicological research.

 

Scope and objectives

DLfM will focuses on the implications of music for Digital Libraries and Digital Libraries research when pushing the boundaries of contemporary musicology, including the application of techniques as reported in more technologically-oriented fora such as ISMIR and ICMC.

This will be the sixth edition of DLfM following very successful and well received previous workshops (in 2014, 2015, 2016, 2017, and 2018), giving an opportunity for the community to present and discuss recent developments that address the challenges of effectively combining technology with musicology through Digital Library systems and their application.

The conference objectives are:

  • to act as a forum for reporting, presenting, and evaluating this work and disseminating new approaches to advance the discipline;
  • to create a venue for critically and constructively evaluating and verifying the operation of Music Digital Libraries and the applications and findings that flow from them;
  • to consider the suitability of existing Music Digital Libraries, particularly in light of the transformative methods and applications emerging from musicology, large collections of both audio and music related data, ‘big data’ method, and MIR;
  • to explore how digital libraries and digital musicology can combine to offer richer online access to online music collections;
  • to set the agenda for work in the field to address these new challenges and opportunities.

 

Topics

Topics of interest include, but are not limited to:

  • Building and managing digital music collections
    • Optical Music Recognition
    • Information literacies for Music Digital Libraries
    • Data quality assessment
  • Access, interfaces and ergonomics
    • Interfaces and access mechanisms for Music Digital Libraries
    • Identification/location of music (in all forms) in generic Digital Libraries
    • Techniques for locating and accessing music in Very Large Digital Libraries (e.g. HathiTrust, Internet Archive) and musical corpus-building at scale
    • Mechanisms for combining multi-form music content within and between Digital Libraries and other digital resources
    • User information needs and behaviour for Music Digital Libraries
  • Musicological Knowledge
    • Music data representations, including manuscripts/scores and audio
    • Applied MIR techniques in Music Digital Libraries and musicological investigations using them
    • Extraction of musical concepts from symbolic notation and audio data
    • Metadata and metadata schemas for music
    • Application of Linked Data and Semantic Web techniques to Music Digital Libraries, and for their access and organisation
    • Ontologies and categorisation of musics and music artefacts
  • Improving data for musicology
    • Digital Libraries which enrich public access to music, music-cultural, and music-ephemera material online
    • Digital Libraries in support of musicology and other scholarly study; novel requirements and methodologies therein
    • Digital Libraries for combination of resources in support of musicology (e.g. combining audio, scores, bibliographic, geographic, ethnomusicology, performance, etc.)

 

Submissions

We invite full papers (up to 8 pages excluding reference) or short and position papers (up to 4 pages excluding references). In addition to the general submission requirements below, we will require that camera-ready copy be received before 21st September 2019, and that at least one author per accepted paper is registered for DLfM by that date.

All papers will be peer reviewed by 2-3 members of the programme committee.

Please submit an abstract to EasyChair by 21th June 2019, and produce your paper using the ACM template and submit it to DLfM on EasyChair by 28th June 2019.

All submitted papers must:

  • be written in English;
  • contain author names, affiliations and e-mail addresses;
  • be in PDF format (please ensure that the PDF can be viewed on any platform), and formatted for A4 size.

Page limits for submitted papers apply to all text, but exclude the bibliography (i.e. references can be included on pages over the specified limits).

It is the authors’ responsibility to ensure that their submissions adhere strictly to the required format. Submissions that do not comply with the above requirements may be rejected without review.

Please note that at least one author from each accepted paper must attend the conference to present their work.

Paper template

Questions regarding the ACM manuscript templates MUST be directed to the ACM TeX support team at Aptara directly at  acmtexsupport@aptaracorp.com.

 

Important dates

  • Abstract submission deadline: 21th June 2019 (23:59 UTC-11)
  • Paper submission deadline: 28th June 2019 (23:59 UTC-11)
  • Notification of acceptance: 17th August 2019
  • Camera ready submission deadline: 21st September 2019
  • Conference: 9th November 2019

 

Conference organisation

Programme Chair

David Rizo, Universidad de Alicante. Instituto Superior de Enseñanzas Artísticas de la Comunidad Valenciana

General Chair

Kevin Page, University of Oxford

Publicity and proceedings Chair

Jorge Calvo-Zaragoza, Universidad de Alicante

Programme Committe (in progress)

  • Alessandro Adamou, Knowledge Media Institute, The Open University
  • Islah Ali-Maclachlan, Birmingham City University
  • Rafael Caro Repetto, Universitat Pompeu Fabra
  • Richard Chesser, British Library
  • Tim Crawford, Goldsmiths College
  • María Teresa  Delgado-Sánchez, Biblioteca Nacional de España
  • Jürgen Diet, Bavarian State Library
  • J. Stephen Downie, University of Illinois
  • Tim Duguid, University of Glasgow
  • Yun Fan, Répertoire International de Littérature Musicale
  • Ben Fields, Goldsmiths University of London
  • Ichiro Fujinaga, McGill University
  • Axel-Teich Geertinger, Royal Danish Library
  • Francesca Giannetti, Rutgers University
  • Xiao Hu Hu, University of Hong Kong
  • Charles Inskip, University College London
  • José Manuel Iñesta, Universidad de Alicante
  • Frauke Jürgensen, University of Aberdeen
  • Audrey Laplante, EBSI, Université de Montréal
  • Kjell Lemström, University of Helsinki
  • David Lewis, University of Oxford
  • Cynthia Liem, Delft University of Technology
  • Alan Marsden, Lancaster University
  • Joshua Neumann, University of Florida
  • Alastair Porter, Universitat Pompeu Fabra
  • Laurent Pugin, RISM Switzerland
  • Andreas Rauber, Vienna University of Technology
  • Amelie Roper, British Library
  • Sertan Şentürk, Kobalt Music Group
  • Marnix Vanberchum, Utrecht University
  • Raffaele Viglianti, University of Maryland
  • Tillman Weyde, City University
  • Frans Wiering, Utrecht University

 

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