11th International Conference on Digital Libraries for Musicology

In association with the annual conference of the International Association of Music Libraries, Archives, and Documentation Centres (IAML), June 27, 2024

The Digital Libraries for Musicology (DLfM) conference is the premiere venue for scholars engaging with digital libraries in the domain of music and musicology. It provides a forum for musicians, musicologists, librarians, and technologists to share findings and expertise.


In 2021 and 2022, we had a successful and productive collaboration with the International Association of Music Libraries, Archives, and Documentation Centres (IAML). We are thus delighted to come back to IAML in 2024.

DLfM 2024 will take place on June 27, at the Stellenbosch University Konservatorium in South Africa, within the wider IAML conference running from 23-28 June 2024.


DLfM welcomes contributions related to any aspect of digital libraries and musicology, including topics related to musical archiving and retrieval, cataloguing and classification, musical databases, special collections, music encodings and representations,
computational musicology, or music information retrieval (MIR).

As this will be the first iteration of DLfM taking place on the African continent, we strongly encourage proposals from individuals working on music in Africa within various disciplines and from a range of perspectives, particularly addressing this year's

Musicology of the Global South: The Role of Digital Libraries

The conference especially encourages submissions of papers and posters that address this year's theme, however, we welcome all papers addressing all traditional topics that fall under the scope of DLfM. Specific examples of topics traditionally covered
at DLfM can be found below.

DLfM 2024 proceedings of full and short papers will be published in the ACM Digital Library through ICPS. We are aware of a growing number of institutional and funder requirements for Open Access publication, and recognise that authors will need to comply
with any policies which apply to them. Further advice is available from the ACM at https://www.acm.org/publications/openaccess#h-green-open-access


  • Abstract submission deadline with provisional title and author list: February 12th, 2024
  • Paper (full paper and short paper) submission deadline: February 12th, 2024
  • EXTENDED paper (full paper and short paper) submission deadline: February 22nd, 2024
  • Notification of paper acceptance: April 8th, 2024
  • Poster submission deadline: April 22nd, 2024
  • Camera-ready submission deadline (full and short papers)*: May 13th, 2024
  • Conference registration deadline: June 17th, 2024
  • Conference: June 27th, 2024, Stellenbosch, South Africa

* At least one author must be registered by the camera-ready submission deadline in order for accepted submissions to be included in the conference programme.


Paper submissions

Poster submissions

  • Submission: The initial poster submission consists of an abstract which outlines both the scholarly content and broad details of the proposed layout in 500 words or fewer. This is to be sent to dlfm2024@easychair.org.
  • Information on printed poster formats will be provided on acceptance of the poster abstract. All accepted posters will also be required to submit a digital copy before the conference date to be shared publicly on the conference web page.
Review and Ethics

Papers (long and short) will be double-blind peer-reviewed by at least 3 members of the programme committee. For accepted paper submissions, at least one author must register for the conference (as a presenter) by the camera-ready submission deadline
(May 13th, 2024).

DLfM conforms to the usual conventions for publication ethics. For instance, we endeavour to provide an effective double-blind reviewing process that is fair to all submissions, with reviews from experts in the subject area. In turn, we expect authors
to ensure anonymity in the original submission as far as practically possible (for instance, by not uploading the submission to a public website and/or removing any currently public unpublished preprints while it is under review) and that submissions
to DLfM are not under active consideration by another conference or journal.

Submission link and contact email


While Digital Libraries have long offered facilities to provide multimedia content, the requirements of systems for library music are complex. The many forms taken by musical data, the needs for connections between these, and the importance of scholarly
and historical contextual information all require special care to support meaningful engagement with the materials.

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.

DLfM focuses on the implications of music for Digital Libraries and Digital Libraries research, especially when pushing the boundaries of contemporary musicology through the application of techniques from more technology-oriented fora such as ISMIR and
ICMC. This instalment of DLfM conference follows previous conferences in Milan, Prague, Montreal, The Hague, Paris, New York, Shanghai, Knoxville and London.

DLfM partners with IAML, ISMIR, and other conferences to encourage new collaborations and discussions surrounding prominent issues in our shared field.


  • to act as a forum for reporting, presenting, evaluating and disseminating work combining technology with musicology through Digital Library systems;
  • to critically evaluate the operation of Music Digital Libraries and the applications and findings that flow from them;
  • to re-evaluate 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’ methods,
    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 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 digital music content
    • 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)
    • 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 for digital music content or analysis
    • Computational and systematic approaches to musicological analysis
    • Extraction of musical concepts from symbolic notation and/or audio data
    • Metadata and metadata schemas for music
    • Application of Linked Data and Semantic Web techniques to Music Digital Library content, access, or organisation
    • Ontologies and categorisation of musics and music artefacts
  • Improving data for musicology
    • Musical corpus-building at scale
    • Enriching public access to music, music-cultural, and music-ephemera material online
    • Digital Libraries showcasing need or support of musicology and/or other scholarly domain
    • Digital Libraries combining resources for musicology (e.g. combining audio, scores, bibliographic, geographic, ethnomusicology, performance, etc.)


Programme Chair

David M. Weigl, mdw – University of Music and Performing Arts Vienna

General Chair

Martha E. Thomae, Universidade NOVA de Lisboa

Proceedings Chair

Anna Plaksin, Paderborn University

Local Chair

Beulah Gericke-Geldenhuys, Stellenbosch University

Programme Committee

Claire Arthur, Georgia Institute of Technology

David Bainbridge, University of Waikato

Houman Behzadi, McGill University

J. A. Burgoyne, University of Amsterdam

Joy Calico, UCLA Herb Alpert School of Music

Jorge Calvo-Zaragoza, University of Alicante

Rafael Caro Repetto, Institute for Ethnomusicology, Kunstuniversität Graz

Kahyun Choi, Indiana University Bloomington

Nathaniel Condit-Schultz, Georgia Institute of Technology

Rachel Cowgill, University of York

Elsa De Luca, CESEM, Universidade Nova de Lisboa

María Teresa Delgado-Sánchez, Biblioteca Nacional de España

Jürgen Diet, Bavarian State Library

Benjamin Fields, BBC

Ichiro Fujinaga, McGill University

Francesca Giannetti, Rutgers University

Mark Gotham, Durham University

Jose M. Iñesta, Universidad de Alicante

Charles Inskip, University College London

Audrey Laplante, EBSI, Université de Montréal

Kjell Lemström, University of Helsinki

David Lewis, Goldsmiths, University of London

Ewa Lukasik, Poznan University of Technology, Institute of Computing Science

Cory Mckay, Marianopolis College

Stefan Münnich, University of Basel

Joshua Neumann, Akademie der Wissenschaften und der Literatur Mainz

Kevin Page, University of Oxford

Laurent Pugin, RISM Digital Center

Andreas Rauber, Vienna University of Technology

Xavier Serra, Universitat Pompeu Fabra

Sandra Tuppen, British Library

Marnix van Berchum, Utrecht University

Raffaele Viglianti, University of Maryland

Sonia Wronkowska, The National Library of Poland