Update (2022-05-05): Detailed conference agenda now available on ConfTool (with downloadable PDFs for registered participants). The travel page has been updated with information about getting from the airport to the conference.
Update (2022-03-01): Conference registration is now open via the MEC '22 ConfTool!
Update (2022-02-25): New information regarding conference attendance is available! Please check out the new entries in the navigation menu.
Update (2022-02-14): Notifications will be sent to all submitting authors in the next few days. Apologies for the slight delay.
Update (2021-12-03): While the initial submission deadline (title, authors, 1-paragraph abstract) remains December 10th, the full submission deadline has been extended to December 23rd, 2021.
The Music Encoding Conference is the annual meeting of the Music Encoding Initiative (MEI) community and all who are interested in the digital representation of music.
Music encoding is a critical component for fields and areas of study including computational or digital musicology, digital editions, symbolic music information retrieval, and digital libraries. This event brings together enthusiasts from various music research communities, including technologists, librarians, music scholars, and students and provides an opportunity for learning and engaging with and from each other.
Music Encoding Conference 2022 is hosted by Dalhousie University and will take place Thursday 19th - Sunday 22nd May, 2022.
As in the previous two years, this year’s Conference will again allow remote attendance where travel plans are affected by the ongoing pandemic. However, we look forward to welcoming as many of you in person as possible!
The Call for Contributions is now available. Further details will be announced here in due course.
All attendees are expected to adhere to the conference Code of Conduct.
Questions? Contact Organizing Committee Chair, Jennifer Bain, or Programme Committee Chair, David M. Weigl, at conference2022 at music-encoding.org.
The Music Encoding Conference is supported in part by funding from the Social Sciences and Humanities Research Council of Canada.