Music Encoding Initiative Guidelines
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Music Encoding Initiative Guidelines Release 2013 Revision 2.1.1 Prepared and maintained by the Music Encoding Initiative Council Edited by Perry Roland and Johannes Kepper With contributions by Benjamin Bohl, Andrew Hankinson, Maja Hartwig, Laurent Pugin, Kristina Richts, Axel Teich Geertinger, Raffaele Viglianti and Thomas Weber This project is supported jointly by the National Endowment for the Humanities and the Deutsche Forschungsgemeinschaft. Any views, findings, conclusions or recommendations expressed in this publication do not necessarily reflect those of the National Endowment for the Humanities or the Deutsche Forschungsgemeinschaft. MEI2013 Guidelines Music Encoding Initiative Guidelines, 2013 Release © by the Music Encoding Initiative (MEI) Council. Charlottesville and Detmold. 2014 Licensed under the Educational Community License, Version 2.0 (the "License"); you may not use this file except in compliance with the License. You may obtain a copy of the License at http://www.osedu.org/licenses/ECL-2.0. i Table of Contents Table of Contents Acknowledgments Introduction MEI Design Principles 1 Shared Elements, Models, and Attributes 1.1 Structural Elements 1.1.1 Document Elements 1.1.2 Music Element 1.1.2.1 Grouped Texts 1.1.2.2 Divisions of the Body 1.1.2.3 Content of Musical Divisions 1.2 Shared Musical Elements 1.2.1 Score and Parts 1.2.2 Staves and Layers 1.2.3 Basic Music Events 1.2.4 Other "Events" 1.2.4.1 Key Signatures and Clefs 1.2.4.2 Bar Lines and Custos Signs 1.2.4.3 Accidentals, Articulation Symbols, Augmentation Dots, and Custos Signs 1.2.4.4 Lyric Syllables 1.2.4.5 Event Spacing 1.2.5 Expression Marks 1.2.5.1 Text Directives 1.2.5.2 Tempo 1.2.5.3 Dynamics 1.2.5.4 Phrase Marks 1.3 Shared Textual Elements 1.3.1 Paragraphs 1.3.2 Text Rendition 1.3.3 Transcription of Titlepages 1.3.4 Names, Dates, Numbers, Abbreviations, and Addresses ii MEI2013 Guidelines 1.3.4.1 Names and Dates 1.3.4.2 Numbers 1.3.4.3 Addresses 1.3.5 Annotations 1.3.6 Bibliographic Citations and References 1.3.7 Related Items 1.4 Common Attributes 2 The MEI Header 2.1 File Description 2.1.1 Title Statement 2.1.2 Edition Statement 2.1.3 Physical Description of the File 2.1.4 Publication, Distribution, etc. 2.1.5 Series Statement 2.1.6 Notes Statement 2.1.7 Source Description 2.1.7.1 Associating Metadata and Data 2.2 Encoding Description 2.2.1 Application Information 2.2.2 Declaration of Editorial Principles 2.2.3 Project Description 2.2.4 Sampling Declaration 2.3 Work Description 2.3.1 Work Identification 2.3.2 Incipits 2.3.3 Key, Tempo, and Meter 2.3.4 Other Identifying Characteristics 2.3.5 Work History 2.3.6 Language Usage 2.3.7 Performance Medium 2.3.7.1 Cast Lists 2.3.7.2 Instrumentation iii Table of Contents 2.3.8 Audience and Context 2.3.9 Work Contents 2.3.10 Bibliographic Evidence 2.3.11 Notes Statement 2.3.12 Classification 2.3.13 Work Relationships 2.4 Revision Description 2.5 Minimal and Recommended Header Information 2.6 Independent Headers 2.6.1 Definition and Principles for Encoders 2.6.2 Header Elements and their Relationship to Other Bibliographic Standards 2.7 RelatedItem vs. FRBR 3 Functional Requirements for Bibliographic Records (FRBR) 3.1 FRBR Entities in MEI 3.2 Component Parts in MEI 3.3 FRBR Relationships 4 Common Music Notation 4.1 Basic Elements of CMN 4.1.1 The Role of the Measure Element 4.1.2 Defining Score Parameters for CMN 4.1.3 Redefinition of Score Parameters 4.1.4 Notes, Chords and Rests in CMN 4.1.4.1 Notes 4.1.4.2 Rests 4.1.5 Timestamps and Durations 4.2 Advanced CMN Features 4.2.1 Beams 4.2.2 Ties, Slurs and Phrase Marks 4.2.3 Dynamics in CMN 4.2.4 Tuplets 4.2.5 Articulation and Performance Instructions in CMN 4.2.5.1 Arpeggio and Glissando iv MEI2013 Guidelines 4.2.5.2 Bend 4.2.5.3 Tremolandi 4.2.5.4 Fermata 4.2.5.5 Octave Shift 4.2.6 Instrument-specific Symbols in CMN 4.2.6.1 Breath Marks 4.2.6.2 Harp Pedals 4.2.6.3 Piano Pedal 4.2.7 Ossia 4.2.8 Directions and Rehearsal marks 4.2.9 Repetition in CMN 4.2.9.1 Structural Repetition 4.2.9.2 Measure-Level Repetition Symbols 5 Mensural Notation 5.1 Note and Rest Values 5.1.1 Actual Duration with Alterations and Imperfections 5.2 Mensuration Signs 5.3 Proportions 5.4 Ligatures 5.5 Music Data Organization 5.6 Elements and Attributes from Other Modules 5.6.1 Accidentals 5.6.2 Coloration 5.6.3 Custos 5.6.4 Dot 6 Neume Notation 6.1 Overview of the Neumes Module 6.2 Module Background 6.3 Neume Notation 6.4 Examples 6.4.1 Basic Encoding 6.4.2 Encoding Variants 6.4.3 Supplied Notes v Table of Contents 7 Analytical Information 7.1 General Relationships Between Elements 7.2 Event-Specific Analytical Information 7.2.1 Melodic Intervals 7.2.2 Melodic Function 7.2.3 Harmonic Intervals 7.2.4 Scale Degrees 7.2.5 Pitch Class 7.2.6 Solmization 8 Common Music Notation Ornaments 8.1 Encoding Common To All Ornaments 8.1.1 Overriding Default Resolutions 8.2 Mordents 8.3 Trills 8.3.1 Special Cases 8.4 Turns 8.5 Ornaments in Combinations 9 Musical Corpora 9.1 Corpus Module Overview 9.2 Combining Corpus and Text Headers 9.3 Recommendations for the Encoding of Large Corpora 10 Critical Apparatus 10.1 General Usage 10.2 Variants in Musical Content 10.3 Variants in Score Definitions 10.4 Nesting Apparati 11 Editorial Markup 11.1 Abbreviations 11.2 Apparent Errors 11.3 Regularization and Normalization 11.4 Additions, Deletions, and Omissions 11.4.1 Omissions, Unclear Readings, Damage, and Supplied Readings vi MEI2013 Guidelines 11.4.2 Additions and Deletions 11.4.3 Substitutions, Restorations, and Handshifts 12 Facsimiles 12.1 Elements of the Facsimile Module 13 Figures and Tables 13.1 Figures 13.1.1 Figure Captions and Descriptions 13.1.2 Images 13.1.2.1 Vector Graphic Formats 13.1.2.2 Raster Graphic Formats 13.1.2.3 Photographic and Motion Video Formats 13.2 Tables 13.2.1 Rows 13.2.2 Cells 14 Harmony 14.1 Overview of the Harmony Module 14.1.1 Elements 14.1.2 Attribute Classes 14.1.3 Model Classes 14.2 Indications of Harmony 14.2.1 Interpreted Chord Data in scoreDef 14.2.2 Chord Tablature Grids 14.2.3 Indications of Harmony in the Music Text 14.2.3.1 Figured Bass 15 Linking and Alignment 15.1 Overview of the Linkalign Module 15.1.1 Elements 15.2 Linking and Alignment Examples 16 Vocal Text 16.1 Lyric Syllables 16.2 Vocally Performed Text Encoded Within Notes vii Table of Contents 16.3 Vocally Performed Text Encoded Separately 17 MIDI 17.1 PPQ in scoreDef and staffDef 17.2 Recording General MIDI Instrumentation 17.3 Recording MIDI Event Data 17.4 MIDI in Mensural and Neume Notation 18 Names and Dates 18.1 Basic Elements for Names and Dates 18.2 Specialized Name and Date Elements 18.2.1 Corporate Names 18.2.2 Geographic Names 18.2.3 Time Period Names 18.2.4 Personal Names 18.2.5 Style Names 19 Performances 20 Pointers and References 20.1 Links 20.1.1 Difference between Pointers and References 21 Tablature Notation 21.1 Overview of the Tablature Module 22 Text in MEI 22.1 Organizing Text into Divisions 22.2 Paragraphs 22.3 Lists 22.4 Quotation 22.5 Poetry 22.6 Paratext 22.6.1 Front Matter 22.6.2 Title Pages 22.7 Back Matter 23 User-defined Symbols viii MEI2013 Guidelines 23.1 Overview of the User Symbols Module 23.1.1 Elements 23.1.2 Attribute Classes 23.1.3 Model Classes 23.2 Uses of the Usersymbols Module 23.2.1 Defining Reusable Symbols 23.2.2 Elements Without Semantic Implications 23.2.3 Defining a Specific Graphical Rendition for a Semantic Element 23.3 Positioning and Coordinates 23.3.1 Axis Orientation 23.3.2 Units 23.3.3 Positioning 23.3.4 Curve Shape 23.4 Line Rendition 23.5 Limitations ix Acknowledgments Acknowledgments Many institutions and individuals assisted in the preparation of these Guidelines and in the overall development of the Music Encoding Initiative (MEI) schema. Grateful acknowledgment is given to the following institutions for their generous contributions: the National Endowment for the Humanities (NEH) and the Deutsche Forschungsgemeinschaft (DFG) for their joint support of the MEI project, the Institute for Advanced Technology in the Humanities at the University of Virginia and the Hochschule für Musik in Detmold for graciously hosting grant-funded meetings, the Center for Computer-Assisted Research in the Humanities at Stanford University for permission to make use of their large collection of encoded music, the Akademie der Wissenschaften und der Literatur in Mainz for their recognition of the potential of MEI, and the Musikwissenschaftliches Seminar Detmold/Paderborn and the University of Virginia Library for providing financial support and environments that encourage experimentation. The Text Encoding Initiative is also owed a special debt of gratitude.