{"id":4180,"date":"2020-07-06T11:18:24","date_gmt":"2020-07-06T15:18:24","guid":{"rendered":"https:\/\/sites.temple.edu\/performingartsnews\/?p=4180"},"modified":"2021-03-16T12:03:48","modified_gmt":"2021-03-16T16:03:48","slug":"digarts-music-encoding-initiative","status":"publish","type":"post","link":"https:\/\/sites.temple.edu\/performingartsnews\/2020\/07\/06\/digarts-music-encoding-initiative\/","title":{"rendered":"Dig!Arts: Music Encoding Initiative"},"content":{"rendered":"

<\/p>\n

MEI, the “Music Encoding Initiative”<\/a>, represents a music markup language, an organization, and a research community. \u00a0Initially conceived by Perry Roland from the University of Virginia Library in response to the need for a “comprehensive markup language in the academic music community,” \u00a0MEI grew into an international effort when Stefan Morent of the University of T\u00fcbingen\u00a0and Johannes Kepper and Daniel Daniel R\u00f6wenstrunk, both from\u00a0Edirom<\/a>\u00a0joined the effort. \u00a0The\u00a0National Endowment for the Humanities and the German Research Foundation (DFG) provided funding, bringing together musicologists, librarians, technologists, and music theorists to create an international standard for music encoding. \u00a0The first international MEI conference was held\u00a0in 2013 at the Mainz Academy for Literature and Sciences, and the second in 2014 at the University of Virginia, which I attended. \u00a0The viability, flexibility, and strong technical and scholarly foundation of MEI\u00a0continues to grow. Presently, the Library of Congress has designated MEI as a recommended format specification<\/a>, \u00a0and MEI will be used in new digital editions of Mozart, Bach, and Weber as well as others. \u00a0Through Verovio<\/a>, MEI will be used to render incipits in RISM<\/a>, the international online catalog of musical sources.<\/p>\n

Rendering music notation in a meaningful way can be challenging. \u00a0Musical notation involves subtle (and sometimes not so subtle) \u00a0differences that greatly impact meaning and interpretation. \u00a0 Variations in placement horizontally and vertically, color, shape, and size of notes, and spacing are all important elements to render in musical notation. \u00a0To complicate matters further, notation systems other than the common western notation, such as lute tablatures, medieval neumes, renaissance polyphony, and others, necessitate flexibility in any standard music encoding system. \u00a0Building MEI as a framework allows for the development of various schema to support different \u00a0notation systems. \u00a0Presently, MEI serves only to render musical notation, not to apply descriptive analytical tags.<\/p>\n

Although similar in some ways to MusicXML, which is proprietary, MEI is platform independent, public, open standard, and controlled by the scholarly community. \u00a0Designed to facilitate sharing and scholarly systematic inquiry and analyses of musical scores, \u00a0 MEI’s framework works with various notation systems, incorporates valuable metadata, and provides the foundation for the production of viable scholarly editions of music. \u00a0Like TEI (Text Encoding Initiative), the MEI framework is xml and natural-language based.\u00a0 The framework, known as the “Music Encoding (MEI) Guidelines”<\/a>, contains application guidelines, tag library, rules, and accompanying schema\u00a0in an ODD (One Document Does-It-All) document.<\/p>\n

The three pillars\u00a0that support the MEI framework\u00a0are\u00a0elements, attributes, and the relationships between various elements and attributes. \u00a0 Elements identify every aspect of the musical work\u00a0and are identified and defined in the tag library. \u00a0The tag library also defines which attributes are associated with any particular element. \u00a0Elements include structural elements, musical elements, and textual elements. \u00a0 Document structure, metadata, and musical structure comprise the structure elements. \u00a0An MEI statement is also included in the document structure. \u00a0Metadata is in the FRBR model (Functional Requirements for Bibliographic Records) as\u00a0defined by IFLA (the International Federation of Library Associations and Institutions). \u00a0Structural elements also include the components\u00a0of the musical work, which can be a symphony, sonata, or concerto with different movements, a song cycle, an opera with arias, duets, overtures, and many others. \u00a0Beyond the structural elements come the basic music notational elements including key signatures and clefs, bar lines, note, chord, rest, accidentals, and more. \u00a0 There are currently over 300 MEI Elements in the guidelines. \u00a0Below you will see coding \u00a0(from\u00a0http:\/\/music-encoding.org\/documentation\/samples) of some structural elements and musical elements for Beethoven’s An die ferne Geliebte.<\/em><\/p>\n

Stuctural Elements<\/strong>
\n<\/code><\/p>\n

<mei\u00a0xmlns<\/span>=”http:\/\/www.music-encoding.org\/ns\/mei<\/span>“<\/span>\u00a0xmlns:xlink<\/span>=”http:\/\/www.w3.org\/1999\/xlink<\/span>“<\/span>meiversion<\/span>=”2013<\/span>“<\/span>><\/span><\/div>\n
\n
\n
\n
<meiHead><\/span><\/div>\n
\n
\n
\n
<fileDesc><\/span><\/div>\n
\n
\n
\n
<titleStmt><\/span><\/div>\n
\n
<title><\/span>Example<\/span><\/title><\/span><\/div>\n
\n
\n
<respStmt><\/span><\/div>\n
\n
<persName\u00a0role<\/span>=”creator<\/span>“<\/span>><\/span>Ludwig van Beethoven<\/span><\/persName><\/span><\/div>\n
<persName\u00a0role<\/span>=”encoder<\/span>“<\/span>><\/span>Maja Hartwig<\/span><\/persName><\/span><\/div>\n
<persName\u00a0role<\/span>=”encoder<\/span>“<\/span>><\/span>Kristina Richts<\/span><\/persName><\/span><\/div>\n<\/div>\n
<\/respStmt><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/titleStmt><\/span><\/div>\n<\/div>\n<\/div>\n
<\/div>\n
\n
\n
\n
<\/div>\n
\n
\n
<identifier><\/span><\/div>\n
\n
<ref\u00a0target<\/span>=”http:\/\/music-encoding.org\/Support\/MEI_Sample_Collection<\/span>“<\/span>\/><\/span><\/div>\n<\/div>\n
<\/identifier><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
<sourceDesc><\/div>\n<\/div>\n<\/div>\n
\n
\n
\n
\n
\n
<source\u00a0n<\/span>=”1<\/span>“<\/span>\u00a0xml:id<\/span>=”IMSLP_Beethoven_op98_1<\/span>“<\/span>\u00a0label<\/span>=”print<\/span>“<\/span>><\/span><\/div>\n
\n
<identifier\u00a0type<\/span>=”opusNumber<\/span>“<\/span>><\/span>Op. 98<\/span><\/identifier><\/span><\/div>\n
\n
\n
<identifier\u00a0type<\/span>=”URI<\/span>“<\/span>><\/span><\/div>\n
http:\/\/conquest.imslp.info\/files\/imglnks\/usimg\/d\/d4\/IMSLP47561-PMLP11572-Beethoven_Lieder_Peters_9535_Op_98_An_die_ferne_Geliebte.pdf<\/span><\/div>\n
<\/identifier><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
<titleStmt><\/span><\/div>\n
\n
<title><\/span>An die ferne Geliebte<\/span><\/title><\/span><\/div>\n
\n
\n
<respStmt><\/span><\/div>\n
\n
<persName\u00a0role<\/span>=”composer<\/span>“<\/span>><\/span>Ludwig van Beethoven<\/span><\/persName><\/span><\/div>\n
<persName\u00a0role<\/span>=”lyricist<\/span>“<\/span>><\/span>Aloys Isidor Jeitteles<\/span><\/persName><\/span><\/div>\n
<persName\u00a0role<\/span>=”dedicatee<\/span>“<\/span>><\/span>F\u00fcrst Joseph von Lobkowitz<\/span><\/persName><\/span><\/div>\n
<persName\u00a0role<\/span>=”editor<\/span>“<\/span>><\/span>Max Unger<\/span><\/persName><\/span><\/div>\n<\/div>\n
<\/respStmt><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/titleStmt><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
<pubStmt><\/span><\/div>\n
\n
\n
\n
<respStmt><\/span><\/div>\n
\n
<corpName\u00a0role<\/span>=”publisher<\/span>“<\/span>><\/span>C.F. Peters<\/span><\/corpName><\/span><\/div>\n<\/div>\n
<\/respStmt><\/span><\/div>\n<\/div>\n<\/div>\n
<pubPlace><\/span>Leipzig<\/span><\/pubPlace><\/span><\/div>\n<\/div>\n
<\/pubStmt><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
<physDesc><\/span><\/div>\n
\n
<plateNum><\/span>9535<\/span><\/plateNum><\/span><\/div>\n<\/div>\n
<\/physDesc><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/source><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
<\/div>\n
\n
\n
\n
<titleStmt><\/span><\/div>\n
\n
<title><\/span>An die ferne Geliebte<\/span><\/title><\/span><\/div>\n<\/div>\n
<\/titleStmt><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/div>\n
\n
\n
<workDesc><\/span><\/div>\n
\n
\n
\n
<work><\/span><\/div>\n
\n
\n
\n
<titleStmt><\/span><\/div>\n
\n
<title><\/span>Auf dem H\u00fcgel sitz ich sp\u00e4hend<\/span><\/title><\/span><\/div>\n
\n
\n
<title\u00a0type<\/span>=”uniform<\/span>“<\/span>><\/span><\/div>\n
An die ferne Geliebte <Auf dem H\u00fcgel sitz’ ich sp\u00e4hend><\/span><\/div>\n
<\/title><\/span><\/div>\n<\/div>\n<\/div>\n
<\/div>\n<\/div>\n<\/div>\n<\/div>\n
<key\u00a0pname<\/span>=”e<\/span>“<\/span>\u00a0accid<\/span>=”f<\/span>“<\/span>\u00a0mode<\/span>=”major<\/span>“<\/span>><\/span>Es major<\/span><\/key><\/span><\/div>\n
<tempo><\/span>Ziemlich langsam und mit Ausdruck<\/span><\/tempo><\/span><\/div>\n
<meter\u00a0count<\/span>=”3<\/span>“<\/span>\u00a0unit<\/span>=”4<\/span>“<\/span>\/><\/span><\/div>\n
\n
\n
<incip><\/span><\/div>\n
\n
<incipCode\u00a0form<\/span>=”parsons<\/span>“<\/span>><\/span>*rruuurdudduurduuddduddudrddddd<\/span><\/incipCode><\/span><\/div>\n
\n
\n
<incipText><\/span><\/div>\n
\n
<p><\/span>Auf dem H\u00fcgel sitz’ ich sp\u00e4hend<\/span><\/p><\/span><\/div>\n<\/div>\n
<\/incipText><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
<score><\/span><\/div>\n
\n
\n
\n
<scoreDef\u00a0meter.count<\/span>=”3<\/span>“<\/span>\u00a0meter.unit<\/span>=”4<\/span>“<\/span>\u00a0key.sig<\/span>=”3f<\/span>“<\/span>\u00a0key.mode<\/span>=”major<\/span>“<\/span>><\/span><\/div>\n
\n
\n
\n
<staffGrp><\/span><\/div>\n
\n
<staffDef\u00a0n<\/span>=”1<\/span>“<\/span>\u00a0label<\/span>=”Voice<\/span>“<\/span>\u00a0lines<\/span>=”5<\/span>“<\/span>\u00a0clef.line<\/span>=”2<\/span>“<\/span>\u00a0clef.shape<\/span>=”G<\/span>“<\/span>\u00a0key.sig<\/span>=”3f<\/span>“<\/span>key.mode<\/span>=”major<\/span>“<\/span>\/><\/span><\/div>\n
\n
\n
<staffGrp\u00a0symbol<\/span>=”brace<\/span>“<\/span>\u00a0label<\/span>=”Piano<\/span>“<\/span>\u00a0barthru<\/span>=”true<\/span>“<\/span>><\/span><\/div>\n
\n
<staffDef\u00a0n<\/span>=”2<\/span>“<\/span>\u00a0lines<\/span>=”5<\/span>“<\/span>\u00a0clef.line<\/span>=”2<\/span>“<\/span>\u00a0clef.shape<\/span>=”G<\/span>“<\/span>\u00a0key.sig<\/span>=”3f<\/span>“<\/span>\u00a0key.mode<\/span>=”major<\/span>“<\/span>\/><\/span><\/div>\n
<staffDef\u00a0n<\/span>=”3<\/span>“<\/span>\u00a0lines<\/span>=”5<\/span>“<\/span>\u00a0clef.line<\/span>=”4<\/span>“<\/span>\u00a0clef.shape<\/span>=”F<\/span>“<\/span>\u00a0key.sig<\/span>=”3f<\/span>“<\/span>\u00a0key.mode<\/span>=”major<\/span>“<\/span>\/><\/span><\/div>\n<\/div>\n
<\/staffGrp><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/staffGrp><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/scoreDef><\/span><\/div>\n
<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

Musical Content – Below is the coding for the first measure of\u00a0<\/strong>An die ferne Geliebte<\/strong>.<\/em>
\n<\/code><\/p>\n

<measure\u00a0n<\/span>=”1<\/span>“<\/span>\u00a0width<\/span>=”324<\/span>“<\/span>><\/section>\n
<staff\u00a0n<\/span>=”1<\/span>“<\/span>><\/p>\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
<layer\u00a0n<\/span>=”1<\/span>“<\/span>><\/span><\/div>\n
\n
<rest\u00a0dur<\/span>=”4<\/span>“<\/span>\/><\/span><\/div>\n
\n
\n
<note\u00a0pname<\/span>=”b<\/span>“<\/span>\u00a0oct<\/span>=”4<\/span>“<\/span>\u00a0dur<\/span>=”4<\/span>“<\/span>\u00a0stem.dir<\/span>=”down<\/span>“<\/span>\u00a0accid.ges<\/span>=”f<\/span>“<\/span>><\/span><\/div>\n
\n
\n
\n
<verse><\/span><\/div>\n
\n
<syl><\/span>Auf<\/span><\/syl><\/span><\/div>\n<\/div>\n
<\/verse><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/note><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
<note\u00a0pname<\/span>=”b<\/span>“<\/span>\u00a0oct<\/span>=”4<\/span>“<\/span>\u00a0dur<\/span>=”4<\/span>“<\/span>\u00a0stem.dir<\/span>=”down<\/span>“<\/span>\u00a0accid.ges<\/span>=”f<\/span>“<\/span>><\/span><\/div>\n
\n
\n
\n
<verse><\/span><\/div>\n
\n
<syl><\/span>dem<\/span><\/syl><\/span><\/div>\n<\/div>\n
<\/verse><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/note><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/layer><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/staff><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
<staff\u00a0n<\/span>=”2<\/span>“<\/span>><\/span><\/div>\n
\n
\n
\n
<layer\u00a0n<\/span>=”1<\/span>“<\/span>><\/span><\/div>\n
\n
\n
\n
<chord\u00a0dur<\/span>=”4<\/span>“<\/span>\u00a0stem.dir<\/span>=”up<\/span>“<\/span>><\/span><\/div>\n
\n
<note\u00a0pname<\/span>=”b<\/span>“<\/span>\u00a0oct<\/span>=”3<\/span>“<\/span>\u00a0accid.ges<\/span>=”f<\/span>“<\/span>\/><\/span><\/div>\n
<note\u00a0pname<\/span>=”e<\/span>“<\/span>\u00a0oct<\/span>=”4<\/span>“<\/span>\u00a0accid.ges<\/span>=”f<\/span>“<\/span>\/><\/span><\/div>\n
<note\u00a0pname<\/span>=”g<\/span>“<\/span>\u00a0oct<\/span>=”4<\/span>“<\/span>\/><\/span><\/div>\n
<note\u00a0pname<\/span>=”b<\/span>“<\/span>\u00a0oct<\/span>=”4<\/span>“<\/span>\u00a0accid.ges<\/span>=”f<\/span>“<\/span>\/><\/span><\/div>\n<\/div>\n
<\/chord><\/span><\/div>\n<\/div>\n<\/div>\n
<note\u00a0pname<\/span>=”b<\/span>“<\/span>\u00a0oct<\/span>=”4<\/span>“<\/span>\u00a0dur<\/span>=”4<\/span>“<\/span>\u00a0stem.dir<\/span>=”down<\/span>“<\/span>\u00a0accid.ges<\/span>=”f<\/span>“<\/span>\/><\/span><\/div>\n
<note\u00a0pname<\/span>=”a<\/span>“<\/span>\u00a0oct<\/span>=”4<\/span>“<\/span>\u00a0dur<\/span>=”4<\/span>“<\/span>\u00a0stem.dir<\/span>=”up<\/span>“<\/span>\u00a0accid.ges<\/span>=”f<\/span>“<\/span>\/><\/span><\/div>\n<\/div>\n
<\/layer><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/staff><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
<staff\u00a0n<\/span>=”3<\/span>“<\/span>><\/span><\/div>\n
\n
\n
\n
<layer\u00a0n<\/span>=”1<\/span>“<\/span>><\/span><\/div>\n
\n
\n
\n
<chord\u00a0dur<\/span>=”4<\/span>“<\/span>\u00a0stem.dir<\/span>=”up<\/span>“<\/span>><\/span><\/div>\n
\n
<note\u00a0pname<\/span>=”e<\/span>“<\/span>\u00a0oct<\/span>=”2<\/span>“<\/span>\u00a0accid.ges<\/span>=”f<\/span>“<\/span>\/><\/span><\/div>\n
<note\u00a0pname<\/span>=”e<\/span>“<\/span>\u00a0oct<\/span>=”3<\/span>“<\/span>\u00a0accid.ges<\/span>=”f<\/span>“<\/span>\/><\/span><\/div>\n<\/div>\n
<\/chord><\/span><\/div>\n<\/div>\n<\/div>\n
<clef\u00a0shape<\/span>=”G<\/span>“<\/span>\u00a0line<\/span>=”2<\/span>“<\/span>\/><\/span><\/div>\n
<note\u00a0pname<\/span>=”g<\/span>“<\/span>\u00a0oct<\/span>=”4<\/span>“<\/span>\u00a0dur<\/span>=”4<\/span>“<\/span>\u00a0stem.dir<\/span>=”up<\/span>“<\/span>\/><\/span><\/div>\n
<note\u00a0pname<\/span>=”f<\/span>“<\/span>\u00a0oct<\/span>=”4<\/span>“<\/span>\u00a0dur<\/span>=”4<\/span>“<\/span>\u00a0stem.dir<\/span>=”up<\/span>“<\/span>\/><\/span><\/div>\n<\/div>\n
<\/layer><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/staff><\/span><\/div>\n<\/div>\n<\/div>\n
\n
\n
<dir\u00a0tstamp<\/span>=”1<\/span>“<\/span>\u00a0place<\/span>=”above<\/span>“<\/span>\u00a0staff<\/span>=”1<\/span>“<\/span>><\/span><\/div>\n
\n
\n
\n
<rend\u00a0fontsize<\/span>=”11<\/span>“<\/span>\u00a0fontweight<\/span>=”bold<\/span>“<\/span>><\/span><\/div>\n
Ziemlich langsam und mit Ausdruck<\/span><\/div>\n
<\/rend><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/dir><\/span><\/div>\n<\/div>\n<\/div>\n
<dir\u00a0tstamp<\/span>=”1<\/span>“<\/span>\u00a0place<\/span>=”above<\/span>“<\/span>\u00a0staff<\/span>=”1<\/span>“<\/span>><\/span>No. 1<\/span><\/dir><\/span><\/div>\n
<dynam\u00a0tstamp<\/span>=”1<\/span>“<\/span>\u00a0place<\/span>=”below<\/span>“<\/span>\u00a0staff<\/span>=”2<\/span>“<\/span>><\/span>p<\/span><\/dynam><\/span><\/div>\n
<pedal\u00a0tstamp<\/span>=”1<\/span>“<\/span>\u00a0place<\/span>=”below<\/span>“<\/span>\u00a0staff<\/span>=”3<\/span>“<\/span>\u00a0dir<\/span>=”down<\/span>“<\/span>\u00a0style<\/span>=”pedstar<\/span>“<\/span>\/><\/span><\/div>\n
<pedal\u00a0tstamp<\/span>=”2<\/span>“<\/span>\u00a0place<\/span>=”below<\/span>“<\/span>\u00a0staff<\/span>=”3<\/span>“<\/span>\u00a0dir<\/span>=”up<\/span>“<\/span>\u00a0style<\/span>=”pedstar<\/span>“<\/span>\/><\/span><\/div>\n
<slur\u00a0tstamp<\/span>=”2<\/span>“<\/span>\u00a0tstamp2<\/span>=”0m+3<\/span>“<\/span>\u00a0curvedir<\/span>=”above<\/span>“<\/span>\u00a0staff<\/span>=”2<\/span>“<\/span>\/><\/span><\/div>\n
<slur\u00a0tstamp<\/span>=”2<\/span>“<\/span>\u00a0tstamp2<\/span>=”0m+3<\/span>“<\/span>\u00a0curvedir<\/span>=”below<\/span>“<\/span>\u00a0staff<\/span>=”3<\/span>“<\/span>\/><\/span><\/div>\n<\/div>\n
<\/measure><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

And here you can see the part of the score encoded above.<\/strong><\/p>\n<\/div>\n<\/div>\n

<\/div>\n
\"Music<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

Projects that utilize MEI include:<\/strong><\/p>\n

Bach Digital\u00a0– scans of manuscripts, database of manuscript sources, catalog of works by Bach and Bach family.<\/a><\/p>\n

Beethovens Werkstatt\u00a0– combining variants from editions, manuscripts, and sketchbooks into a completely new concept of a scholarly edition using Edirom tools and MEI.<\/p>\n

Online Chopin Variorum Edition<\/a> –\u00a0\u00a0online archive of manuscript and printed music that can be manipulated by the viewer to create an individualized performing edition.<\/p>\n

Les Livres de Chansons Nouvelles de Nicolas Du Chemin<\/a> – collection of mid-sixteenth century French songs from the printer Nicolas Du Chemin.<\/p>\n

Edirom<\/a>\u00a0– tool for producing digital scholarly editions of music.<\/p>\n

Freischutz Digital\u00a0– completely digital critical scholarly musical edition of\u00a0\u00a0Carl Maria von Weber’s opera.<\/p>\n

Marenzio Online Digital Edition<\/a>\u00a0– \u00a0online critical edition of Luca Marenzio, 16th century madrigal composer.<\/p>\n

Digital Mozart Edition<\/a> – online scholarly edition, critical notes, and facsimile editions.<\/p>\n

Music Notation Addressability Project<\/a>\u00a0–\u00a0 at the University of Maryland Institute for Technology in the Humanities<\/p>\n

Transforming Musicology<\/a> – project customizing lute tablature for MEI.<\/p>\n

Verovio<\/a>\u00a0– developed by RISM Switzerland to render MEI for musical incipits.<\/p>\n

– Anne Harlow<\/em> aharlow@temple.edu<\/p>\n<\/section>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":671,"featured_media":4215,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"cybocfi_hide_featured_image":"","footnotes":""},"categories":[1],"tags":[],"coauthors":[112],"class_list":["post-4180","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"\nDig!Arts: Music Encoding Initiative - Performing Arts News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/sites.temple.edu\/performingartsnews\/2020\/07\/06\/digarts-music-encoding-initiative\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dig!Arts: Music Encoding Initiative - 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