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5th International Conference on Digital Libraries for Musicology, Paris 2018


28th September 2018, Paris
Institut de Recherche et Coordination Acoustique/Musique (IRCAM), Paris, France

In 2018 DLfM calls for paper submissions to two tracks: a ‘proceedings track’ for short and full papers; and a ‘Unlocking Musicology challenge’ track for position papers reporting novel digital routes for disseminating and engaging musicology beyond academia. Full details are provided below.  

Colleagues particularly interested in modelling audio and music, or are using semantic web technologies in their music-related research are also encouraged to consider our sister workshop, Semantic Applications for Audio and Music to be held at Monterey, California on October 9, 2018.

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 fifth Digital Libraries for Musicology conference, follows previous workshops in London, Knoxville, New York, and Shanghai. In 2018, DLfM is again proud to be a satellite event of the annual International Society for Music Information Retrieval (ISMIR) conference also being held in Paris, 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 fifth edition of DLfM following very successful and well received previous workshops (in 2014, 2015, 2016, and 2017), 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:


Topics of interest include, but are not limited to:


Papers for either track will be peer reviewed by 2-3 members of the programme committee.

Please produce your paper using the ACM template and submit it to DLfM on EasyChair by 15th June 2018 (see IMPORTANT DATES).

All submitted papers must:

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.

Please use the ‘ACM Standard’ version of the ‘ACM proceedings template’ – for MS Word, see ACM_SigConf, for LaTeX, sample-sigconf.

Submissions: Proceedings track

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 above, we will require that camera-ready copy be received before 24th August 2018 (see IMPORTANT DATES), and that at least one author per accepted paper is registered for DLfM by that date.

Submissions: Unlocking Musicology Challenge

How can the methods and techniques of Digital Musicology, applied through Music Digital Libraries, be used to increase awareness and access to digital music and associated ephemera in non-academic contexts? How can Music Digital Libraries offer enhanced mechanisms by which the public can explore collections of music and music-related material, showing that digital musicology provides sound approaches for doing so? How can digital musicology approaches, and the tools that implement them, be translated into commercial and third sector applications?

The Unlocking Musicology Challenge solicits short position papers addressing these questions as submissions of up to 2 pages to DLfM (see SUBMISSIONS).

Unlocking Musicology Challenge papers will be peer reviewed, and accepted papers will be presented at the conference as either part of a panel or as poster. Challenge papers will not be included in the main DLfM proceedings, but will be compiled into a supplement hosted on the conference website.

While we encourage authors to engage with DLfM through the Unlocking Musicology Challenge track, those who wish their papers to appear in the main proceedings may prefer to submit a more detailed description of their work to the Proceedings Track as a short or long paper (see above).

Important dates

Conference organisation

Programme Chair, Kevin Page, University of Oxford

Local Chairs, Cécile Davy-Rigaux, IReMus UMR 8223 (CNRS — Sorbonne Université — Bibliothèque nationale de France — ministère de la Culture et de la Communication) ; Christophe Guillotel-Nothmann, IReMus UMR 8223 (CNRS — Sorbonne Université — Bibliothèque nationale de France — ministère de la Culture et de la Communication)

Publicity and proceedings Chair, David Lewis, University of Oxford

Programme Committee

Alessandro Adamou, Knowledge Media Institute, The Open University
Islah Ali-Maclachlan, Birmingham City University
David Bainbridge, University of Waikato
Daniel Bangert, Niedersächsische Staats- und Universitätsbibliothek, Göttingen
Rafael Caro Repetto, Music Technology Group, Universitat Pompeu Fabra, Barcelona
Richard Chesser, British Library
Tim Crawford, Goldsmiths College
Johanna Devaney, The Ohio State University
Jürgen Diet, Bavarian State Library
Sterphen Downie, University of Illinois at Urbana-Champaign
Tim Duguid, University of Glasgow
Yun Fan, Répertoire International de Littérature Musicale
Ichiro Fujinaga, McGill University
Axel Geertinger, Royal Danish Library
Francesca Giannetti, Rutgers University
Mark Gotham, University of Cambridge
Andrew Hankinson, University of Oxford
Xiao Hu, University of Hong Kong
Charles Inskip, University College London
Frauke Jürgensen, University of Aberdeen
Audrey Laplante, EBSI, Université de Montréal
Alan Marsden, Lancaster University
Joshua Neumann, University of Florida
Alastair Porter, Universitat Pompeu Fabra
Laurent Pugin, RISM Switzerland
Andreas Rauber, Vienna University of Technology
David Rizo, University of Alicante
Amelie Roper, British Library
Sertan Şentürk, Universitat Pompeu Fabra
Raffaele Viglianti, University of Maryland
David Weigl, University of Oxford
Tillman Weyde, City University
Frans Wiering, University of Utrecht


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