Times are given in local conference time (JST).
The registration desk opens at 9:00 a.m. each day.
| Tuesday, 26 May 2026: Workshops & Opening |
| Wednesday, 27 May 2026: Conference Day 1 |
| Thursday, 28 May 2026: Conference Day 2 |
| Friday, 29 May 2026: Unconference & Community Meeting |
Tika Simone
Iverna Island, CanadaCarlos Cancino-Chacón1, Jiyun Park2, Silvan Peter1, Yigitcan Özer3, Suhit Chiruthapudi1
1: Johannes Kepler University Linz, AustriaAnna Plaksin1, David M. Weigl2, Werner Goebl2
1: KreativInstitut.OWL, Paderborn University, GermanyFrithjof Bömcke-Vollmer2, Silvan Peter1, Patricia Hu1, Yucong Jiang3, Carlos Cancino-Chacón1, Werner Goebl4, Lars Engeln2, Andreas Münzmay2, Johannes Hentschel5, David M. Weigl4, Axel Berndt2
1: Johannes Kepler University, AustriaMasatoshi Hamanaka1, Gou Koutaki2
1: RIKEN, JapanLaurent Pugin, Andrew Hankinson
RISM Digital Center, SwitzerlandTorsten Roeder, Fabian C. Moss
Universität Würzburg, GermanyLocation: First Forum (B1)
Akira Maezawa
Director of MINA Lab, Yamaha CorporationMusic performance is inherently multimodal. This talk focuses on applications of multimodality in music and on integrating these modalities. I will argue that a key opportunity in music performance encoding lies in aligning and fusing heterogeneous data rather than in representing each modality in isolation. I will discuss experiences in designing systems for music performance analysis and interaction that utilized multiple modalities, including system design and encoding choices. I hope this talk will help further the conversation about modular and multimodal frameworks for encoding music performance.
Speaker Bio:
Akira is a researcher in music informatics, passionate about delivering the rewarding experience of music-making to more people on this planet through technology. He leads the music informatics R&D team, "MINALab," at Yamaha and has developed music technologies and systems used in mobile apps, electronic keyboard instruments, concerts, and exhibits. He has received numerous awards and honorary mentions (10+), including the Cannes Lions International Festival of Creativity, the Information Processing Society of Japan’s Research and Engineering Award, and many others.
Location: 1st Forum (B1)
Seikoh Fukuda
PTNA PRIMTomohiko Nakamura
SIGMUSLocation: First Forum (B1)
Ingrida Alondere
Vilnius city municipality choir Jauna Muzika, LithuaniaDavid M. Weigl1, Chanda VanderHart2, Werner Goebl1
1: mdw – University of Music and Performing Arts Vienna, AustriaJessica Grimmer1, Joshua Neumann2, Tim Duguid3
1: University of Maryland, United States of AmericaNico Schüler
Texas State University, United States of AmericaLocation: First Forum (B1)
Tobias Bachmann, Anna Plaksin, Adrian Nachtwey
Paderborn UniversityEgor Polyakov, Martin Pfleiderer, Pia Steuck
University of Music FRANZ LISZT WeimarTim Eipert, Adrian Nachtwey
University of Würzburg, Paderborn UniversityRafael Ramirez
UPF BarcelonaJohannes Hentschel, Emmanouil Karystinaios, Gerhard Widmer, Markus Neuwirth
ABU & JKU, LinzBofan Ma, Hongshuo Fan, David De Roure, Emily Howard, Wiebke Thormählen
RNCM Manchester, Texas A&M University, University of OxfordRisa Kobayashi, Nami Iino, Masaki Matsubara
University of Tsukuba, Seitoku University, RIKENAnne Schmid, Torsten Roeder
University of WürzburgKun Fang, Ziyu Wang, Ichiro Fujinaga
McGill University, NYU, MbZUAISilke Reich
Goethe University FrankfurtXinhui Liu, Zeming Li
MacauDavid Rizo, Laurent Pugin, Cristina Alís-Raurich, Martha Thomae Elías, Eliseo Fuentes-Martínez, Jorge Calvo-Zaragoza
University of Alicante, RISM Digital, CESEM LisbonNicholas Harley, Geraint Wiggins
BrusselsClemens von Cramon, Joshua Neumann
Akademie der Wissenschaften und der Literatur MainzMai Takahashi, Michikazu Kobayashi, Ikki Ohmukai
Kyoto University, Kochi University, University of TokyoAnne Ferger, Leonie Hofstetter, Aleksander Marcic
Paderborn UniversityNami Iino, Akinaru Iino
University of Tsukuba, RIKEN, NiigataEmiliano Ricciardi, Craig Sapp
Amherst College, Stanford UniversityKosuke Suzuki, Toshie Matsui
Toyohashi University of TechnologyJan-Martin Gebert
Columbia University(See Local Information for a map and list of nearby restaurants)
Location: First Forum (B1)
dr. Imantas Jonas Šimkus
Kaunas University of Technology, LithuaniaAnna Plaksin, William Lepp, Annabelle Mueller, Nils Jesse Schäfer, Sophie Stremel
Paderborn University, GermanyLiang Lee
National Taiwan Normal University, TaiwanShintaro Seki
RIKEN, JapanLocation: First Forum (B1)
Johannes Kepper1, Richard Sänger2
1: Beethovens Werkstatt, Paderborn University, GermanyWerner Goebl1, David M. Weigl1, Iacopo Cividini2, Laurent Pugin3
1: University of Music and Performing Arts Vienna, AustriaAlexander Nguyen1,2, Nikolaos Beer2
1: Institute for Music Informatics and Musicology, Karlsruhe University of Music, GermanyLiam Pond1,2, Tace McNamara3, Ichiro Fujinaga1,2
1: McGill UniversityLocation: First Forum (B1)
Adam Štefunko1, Carlos Eduardo Cancino-Chacón2, Jan Hajič jr.1
1: Charles University, Faculty of Mathematics and Physics, Czech Republic (Czechia)Joshua Stutter
Newcastle University, United KingdomYifan Huang, Eto Sun, Ichiro Fujinaga
McGill University, CanadaKarim Ratib
Not affiliated, CanadaLocation: First Forum (B1)
Erik Bergwall1, Marnix van Berchum2
1: Uppsala University, SwedenDaniel Jettka, Hizkiel Alemayehu, Daniel Röwenstrunk, Kristin Herold
Universität Paderborn, GermanyJulia Maria Jaklin1, Henning Burghoff2, David M. Weigl3
1: TU WienAndrew Hankinson, Rodolfo Zitellini, Laurent Pugin
RISM Digital Center, Switzerland(See Local Information for a map and list of nearby restaurants)
Location: First Forum (B1)
Hanwen Zhang1, Lele Liu2, Ichiro Fujinaga1
1: McGill University, CanadaSilvan Peter, Patricia Hu, Gerhard Widmer
Johannes Kepler University, AustriaAnıl Çamcı, Zeynep Özcan
University of MichiganSuhit Chiruthapudi1, Adam Štefunko2, Silvan Peter1, Patricia Hu1, Jan Hajič jr.2, Carlos Eduardo Cancino-Chacón1
1: Institute of Computational Perception, Johannes Kepler University, AustriaPatricia Hu, Silvan Peter, Gerhard Widmer
Institute of Computational Perception, Johannes Kepler University, Linz, Austria, AustriaLocation: First Forum (B1)
Christina Crowder, Clara Byom
Klezmer Institute, United States of AmericaGeorgina Born’s keynote address to the 20th ISMIR conference in 2020 suggested that, “the time is ripe in MIR for sustained interdisciplinary engagements in ways previously unseen.” In 2022, my Klezmer Institute colleagues and I wrote that, “a healthy relationship with MIR would involve a more cyclical engagement between the MIR community and music-makers in the communities that are their subject of study and analysis.” We would like to take this opportunity to expand on what this more cyclical engagement might look like in a practical sense, and to make the case for supporting communities of musical practice within diaspora and post-vernacular cultural groups. This framing focuses on highly-skilled “scholar practitioners” as carriers of embodied musical knowledge and deep domain expertise, and associated communities of practice as a potential talent pool for developing novel research projects and collaborative community-facing tools that make use of the maturing MEI and other MIR ecosystems.
Inviting conversation with a diverse set of stakeholders across the project lifecycle has the potential to ensure that interdisciplinary projects point toward a future we want rather than what appears technologically possible in the present. User experience research within the Klezmer Archive Project community revealed that, while we could use many existing tools, there was a desire to capture more of the vitality of oral tradition: the transformation and transmission of tunes through generations. For musicians, tunes have a kind of agency and take on lives of their own as they move through musical communities. The ability for MIR projects like the Klezmer Archive Project to trace these networks into digital spaces holds the tantalizing potential to heighten our sense of how tunes live in context and connect communities of musicians across geography and generations. As community-focused MIR projects demonstrate, there is an audience for MIR tools that build toward communities of practice, and expanding the definition of “we” in MIR can be a rewarding way to connect with people excited to be part of the process.
Most of these communities exist largely outside (or on the margins) of the commercial music industry as self-organized, “barely commercial” social, ethnic, or affinity groups. They are rather unlikely to have formal connections to university or G.L.A.M. institutions—though individuals within them will have all manner of academic, tech, non-profit, and business connections. Funding is always an issue in research and project development, particularly for projects that do not conform neatly with traditional academic incentive economies and exist in a contemporary sociopolitical climate that devalues the production of knowledge of all kinds. We don't have a key to unlock the funding problem but have found that when you invite the community in, they invest in you as well—both financially, and through a generosity of domain-specific expertise in the form of datafication, user testing, and visioning. As we invite you to join us in conversation about cyclical engagement with music-making communities, we are eager to be a part of visioning new models for funding projects of all sorts within the music encoding community.
Speaker Bio:
Christina has been performing and researching Jewish music for thirty years, beginning in Budapest, Hungary in 1993 as a founding member of Di Naye Kapelye, and continuing with a Fulbright grant to Romania to document Jewish music in 1999, and since 2002 with an active research, teaching, and performing career in the US. She is Executive Director of the Klezmer Institute, which has been awarded three NEH Grants for Institute projects (2021-2025). Christina lives in New Haven, Connecticut, and performs with the Zamlers Trio. She also performs with Michael Winograd and the Honorable Mentschen, the Dave Levitt Klezmer Trio and many others. She has been a guest instructor in klezmer accordion and ensemble performance in the US, Canada, and Europe, and was both musical director and performer in the 2019 Oregon Shakespeare Festival and the 2020 ART Portland productions of the Broadway play “Indecent.” With the Klezmer Institute, Christina edited the Levitt Legacy music folio, is curating a player folio of KMDMP music, and has led KMDMP artist residency programs in Arizona, Connecticut, Massachusetts, Minnesota, New Mexico, Oregon, Washington, France, and Belgium.
Annual meeting for the Music Encoding Initiative community.