Music Encoding Initiative Guidelines Release 2012 Revision 2.0.0 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, 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. MEI2012 Guidelines Music Encoding Initiative Guidelines, 2012 Release © by the Music Encoding Initiative (MEI) Council. Charlottesville and Detmold. 2012 Licensed under the Educational Community License, Version 2.0 (the "License"); you may not use this file except in compliance with the License. ouY 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 ii MEI2012 Guidelines 1.3.4 Names, Dates, Numbers, Abbreviations, and Addresses 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 1.4 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 Work History 2.3.3 Language Usage 2.3.4 Key, Tempo, and Meter 2.3.5 Performance Medium 2.3.5.1 Cast Lists 2.3.5.2 Instrumentation 2.3.6 Notes Statement 2.3.7 Classification iii Table of Contents 2.3.8 Incipits 2.3.9 Contents 2.3.10 Related Items 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 3 Common Music Notation 3.1 Overview of the CMN Module 3.2 Basic Elements of CMN 3.2.1 The Role of the Measure Element 3.2.2 Defining Score Parameters for CMN 3.2.3 Redefinition of Score Parameters 3.2.4 Notes, Chords and Rests in CMN 3.2.4.1 Notes 3.2.4.2 Rests 3.2.5 Timestamps and Durations 3.3 Advanced CMN Features 3.3.1 Beams 3.3.2 Ties, Slurs and Phrase Marks 3.3.3 Dynamics in CMN 3.3.4 Tuplets 3.3.5 Articulation and Performance Instructions in CMN 3.3.5.1 Arpeggio and Glissando 3.3.5.2 Bend 3.3.5.3 Tremolandi 3.3.5.4 Fermata 3.3.5.5 Octave Shift 3.3.6 Instrument-specific Symbols in CMN 3.3.6.1 Breath Marks 3.3.6.2 Harp Pedals 3.3.6.3 Piano Pedal iv MEI2012 Guidelines 3.3.7 Ossia 3.3.8 Directions and Rehearsal marks 3.3.9 Repetition in CMN 3.3.9.1 Structural Repetition 3.3.9.2 Measure-Level Repetition Symbols 4 Mensural Notation 4.1 Note and Rest Values 4.1.1 Actual Duration with Alterations and Imperfections 4.2 Mensuration Signs 4.3 Proportions 4.4 Ligatures 4.5 Music Data Organization 4.6 Elements and Attributes from Other Modules 4.6.1 Accidentals 4.6.2 Coloration 4.6.3 Custos 4.6.4 Dot 5 Neume Notation 5.1 Overview of the Neumes Module 5.2 Module Background 5.3 Neume Notation 5.4 Examples 5.4.1 Basic Encoding 5.4.2 Encoding Variants 5.4.3 Supplied Notes 6 Analytical Information 6.1 Relationships Between Elements 6.2 Event-Specific Analytical Information 6.2.1 Harmonic Function 6.2.2 Harmonic Intervals 6.2.3 Melodic Function 6.2.4 Melodic Intervals 6.2.5 Pitch Class v Table of Contents 6.2.6 Solmization 7 Common Music Notation Ornaments 7.1 Encoding Common To All Ornaments 7.1.1 Overriding Default Resolutions 7.2 Mordents 7.3 Trills 7.3.1 Particular cases 7.4 Turns 7.5 Ornaments in Combinations 8 Musical Corpora 8.1 Corpus Module Overview 8.2 Combining Corpus and Text Headers 8.3 Recommendations for the Encoding of Large Corpora 9 Critical Apparatus 9.1 General Usage 9.2 Variants in Musical Content 9.3 Variants in Score Definitions 9.4 Nesting Apparati 10 Editorial Markup 10.1 Abbreviations 10.2 Apparent Errors 10.3 Regularization and Normalization 10.4 Additions, Deletions, and Omissions 10.4.1 Omissions, Unclear Readings, Damage, and Supplied Readings 10.4.2 Additions and Deletions 10.4.3 Substitutions, Restorations, and Handshifts 11 Facsimiles 11.1 Elements of the Facsimile Module 12 Figures and Tables 12.1 Figures 12.1.1 Figure Captions and Descriptions vi MEI2012 Guidelines 12.1.2 Images 12.1.2.1 Vector Graphic Formats 12.1.2.2 Raster Graphic Formats 12.1.2.3 Photographic and Motion Video Formats 12.2 Tables 12.2.1 Rows 12.2.2 Cells 13 Harmony 13.1 Overview of the Harmony Module 13.1.1 Elements 13.1.2 Attribute Classes 13.1.3 Model Classes 13.2 Indications of Harmony 13.2.1 Interpreted Chord Data in scoreDef 13.2.2 Chord Tablature Grids 13.2.3 Indications of Harmony in the Music Text 13.2.3.1 Figured Bass 14 Linking and Alignment 14.1 Overview of the Linkalign Module 14.1.1 Elements 14.2 Linking and Alignment Examples 15 Vocal Text 15.1 Lyric Syllables 15.2 Vocally Performed Text Encoded Within Notes 15.3 Vocally Performed Text Encoded Separately 16 MIDI 16.1 PPQ in scoreDef and staffDef 16.2 Recording General MIDI Instrumentation 16.3 Recording MIDI Event Data 16.4 MIDI in Mensural and Neume Notation 17 Names and Dates vii Table of Contents 17.1 Specialized Name and Date Elements 17.1.1 Corporate Names 17.1.2 Geographic Names 17.1.3 Time Period Names 17.1.4 Personal Names 17.1.5 Style Names 18 Performances 19 Pointers and References 19.1 Links 19.1.1 Difference between Pointers and References 20 Tablature Notation 20.1 Overview of the Tablature Module 21 Text in MEI 21.1 Organizing Text into Divisions 21.2 Paragraphs 21.3 Lists 21.4 Quotation 21.5 Poetry 21.6 Paratext 21.6.1 Front Matter 21.6.2 Title Pages 21.7 Back Matter 22 User-defined Symbols 22.1 Overview of the User Symbols Module 22.1.1 Elements 22.1.2 Attribute Classes 22.1.3 Model Classes 22.2 Uses of the Usersymbols Module 22.2.1 Defining Reusable Symbols 22.2.2 Elements Without Semantic Implications 22.2.3 Defining a Specific Graphical Rendition for a Semantic Element viii MEI2012 Guidelines 22.3 Positioning and Coordinates 22.3.1 Axis Orientation 22.3.2 Units 22.3.3 Positioning 22.3.4 Curve Shape 22.4 Line Rendition 22.5 Limitations MEI Elements MEI Model Classes MEI Attribute Classes MEI Data Types MEI Macros 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. In addition to providing much of the inspiration for MEI, the TEI organization supplied funding for the MEI Technical Group in its efforts to adopt ODD. The editors of these Guidelines are grateful for those of the TEI, which provided a stellar exemplar and from which we have ‘borrowed’ shamelessly.