@inproceedings{55839, author = {{Cox, Susanne and Kepper, Johannes}}, booktitle = {{Music Encoding Conference Proceedings 2021}}, editor = {{Münnich, Stefan and Rizo, David}}, pages = {{85–95}}, publisher = {{Humanities Commons}}, title = {{{Encoding Genetic Processes II}}}, doi = {{https://doi.org/10.17613/q6y4-9139}}, year = {{2022}}, } @inproceedings{55841, abstract = {{For musicologists, the collation of multiple sources of the same work is a frequent task. By comparing different witnesses, they seek to identify variation, describe dependencies, and ultimately understand the genesis and transmission of (musical) works. Obviously, the need for such comparison is independent from the medium in which a musical work is manifested. In computing, comparing files for difference is a common task, and the well-known Unix utility diff is almost 46 years old. However, diff, like many other such tools, operates on plain text. While many music encoding formats based on plain text exist, formats used in the field of Digital Humanities are typically based on XML. There are dedicated algorithms for comparing XML as well, but they only focus on the syntax of XML, but not the semantic structures modelled into such standards as MEI. MEI seeks to describe musical structures, and the XML syntax is just a means to express those structures. A diff tool for music should focus on comparing musical structures, but not the specifics of their serialization into a file format. In {Beethovens Werkstatt}, a 16-year project focussed on exploring the concepts and requirements of digital genetic editions of music, based on and arguing with examples from Ludwig van Beethoven, a case-bound diff tool for music was developed. The following paper discusses how that specific tool can be generalized, and which use cases such a tool may support.}}, author = {{Herold, Kristin and Kepper, Johannes and Mo, Ran and Seipelt, Agnes Regina}}, booktitle = {{Music Encoding Conference Proceedings 2020}}, editor = {{De Luca, Elsa and Flanders, Julia}}, keywords = {{mec-proceedings, mec-proceedings-2020}}, pages = {{59–66}}, publisher = {{Humanities Commons}}, title = {{{MusicDiff – A Diff Tool for MEI}}}, doi = {{10.17613/ydbv-e158}}, year = {{2020}}, } @book{55849, abstract = {{Conference proceedings of the Music Encoding Conferences 2015, 2016 and 2017 with Introduction by Giuliano Di Bacco}}, editor = {{Di Bacco, Giuliano and Kepper, Johannes and Roland, Perry D.}}, keywords = {{mec-proceedings, mec-proceedings-2016, mec-proceedings-2015, mec-proceedings-2017}}, publisher = {{Bavarian State Library (BSB)}}, title = {{{Music Encoding Conference Proceedings 2015, 2016 and 2017}}}, doi = {{10.15463/music-1}}, year = {{2019}}, } @inproceedings{55837, abstract = {{The Freischütz Digital project (FreiDi) was one of the pioneer projects employing MEI in large scale. It did not only try to encode a huge quantity of music material, it also sought to capture as many aspects of the available sources as possible, effectively creating data of almost unrivaled richness. This paper discusses the outcomes of and experiences made in the FreiDi project.}}, author = {{Kepper, Johannes}}, booktitle = {{Music Encoding Conference Proceedings 2015, 2016 and 2017}}, editor = {{Di Bacco, Giuliano and Kepper, Johannes and Roland, Perry}}, keywords = {{mec-proceedings, mec-proceedings-2016}}, pages = {{95–105}}, publisher = {{Bavarian State Library (BSB)}}, title = {{{Wie? Was? Entsetzen! Lessons Learned from the Freischütz Digital Project}}}, doi = {{10.15463/music-1}}, year = {{2019}}, } @techreport{55843, abstract = {{This report summarizes technical concepts of the Beethovens Werkstatt project, discussing various prototypes and the technical architectures used. The original version at https://beethovens-werkstatt.de/softwareentwicklung-2017/ includes videos not available in the PDF version published on Zenodo.}}, author = {{Kepper, Johannes}}, keywords = {{Musicology, Digital humanities}}, title = {{{Zu den Herausforderungen der Softwareentwicklung im Projekt Beethovens Werkstatt: Dokumentation und Zwischenbilanz (2014–2017)}}}, doi = {{10.5281/ZENODO.13289742}}, year = {{2017}}, } @article{55828, author = {{Kepper, Johannes and Pugin, Laurent}}, journal = {{Musiktheorie (Zeitschrift für Musikwissenschaft)}}, number = {{4}}, pages = {{347–363}}, title = {{{Was ist eine Digitale Edition? Versuch einer Positionsbestimmung zum Stand der Musikphilologie im Jahr 2017}}}, volume = {{Jahrgang 32}}, year = {{2017}}, } @misc{55844, abstract = {{This is a copy of the Freischütz Digital/data-music repository, which is meant for long-term preservation. A description of the dataset can be found in the readme.md file.}}, author = {{Kepper, Johannes}}, publisher = {{Zenodo}}, title = {{{Freischütz Digital: data-music, The Academy 2017 Release}}}, doi = {{10.5281/ZENODO.13310669}}, year = {{2017}}, } @inbook{55827, author = {{Kepper, Johannes and Hartwig, Maja}}, booktitle = {{„Ei, dem alten Herrn zoll’ ich Achtung gern’“. Festschrift für Joachim Veit zum 60. Geburtstag}}, editor = {{Richts, Kristina and Stadler, Peter}}, isbn = {{978-3-86906-842-8}}, pages = {{319–330}}, publisher = {{Allitera Verlag}}, title = {{{Die Spuren des Digitalen. Über die Nachnutzbarkeit digitaler Inhalte}}}, year = {{2016}}, } @inproceedings{55845, author = {{Kepper, Johannes and Richts, Kristina}}, booktitle = {{IAML Congress Programme with abstracts}}, location = {{Rom}}, pages = {{59–60}}, title = {{{Expression beyond Scope: How FRBR and MEI fit together}}}, year = {{2016}}, } @inbook{55826, author = {{Kepper, Johannes}}, booktitle = {{Music Encoding Conference Proceedings 2013 and 2014}}, editor = {{Roland, Perry D. and Kepper, Johannes}}, pages = {{162–167}}, title = {{{The Impact of the Digital. How Digital Editions will change Editing itself, and what can be learned from the History of Editing}}}, year = {{2015}}, } @article{55825, author = {{Kepper, Johannes and Schreiter, Solveig and Veit, Joachim}}, journal = {{editio. Internationales Jahrbuch für Editionswissenschaft}}, pages = {{127–150}}, title = {{{‚Freischütz‘ analog oder digital – Editionsformen im Spannungsfeld von Wissenschaft und Praxis}}}, doi = {{https://doi.org/10.1515/editio-2014-009}}, volume = {{28}}, year = {{2014}}, } @inproceedings{55824, author = {{Kepper, Johannes and Roland, Perry D. and Röwenstrunk, Daniel}}, booktitle = {{Proceedings of Balisage: The Markup Conference 2013}}, title = {{{Musical Variants in Encoding, Analysis and Visualization}}}, doi = {{10.4242/BalisageVol10.Kepper01}}, year = {{2013}}, } @inbook{55823, author = {{Siegert, Christine and Kepper, Johannes}}, booktitle = {{Medienwandel / Medienwechsel in der Editionswissenschaft}}, editor = {{Bohnenkamp-Renken, Annette}}, pages = {{141–150}}, title = {{{Oper multimedial – Zur Ausgabe von Haydns Arienbearbeitungen}}}, doi = {{10.1515/9783110300437.141}}, volume = {{35}}, year = {{2012}}, } @inproceedings{55848, author = {{Pugin, Laurent and Kepper, Johannes and Roland, Perry and Hartwig, Maja and Hankinson, Andrew}}, booktitle = {{Proceedings of the 13th International Society for Music Information Retrieval Conference, ISMIR 2012, Mosteiro S.Bento Da Vitória, Porto, Portugal, October 8-12, 2012}}, editor = {{Gouyon, Fabien and Herrera, Perfecto and Martins, Luis Gustavo and Müller, Meinard}}, pages = {{505–510}}, publisher = {{FEUP Edições}}, title = {{{Separating Presentation and Content in MEI}}}, year = {{2012}}, } @article{55821, author = {{Bohl, Benjamin W. and Kepper, Johannes and Röwenstrunk, Daniel}}, journal = {{Die Tonkunst}}, number = {{III}}, pages = {{270–276}}, title = {{{Perspektiven digitaler Musikeditionen aus der Sicht des Edirom-Projekts}}}, year = {{2011}}, } @book{55829, abstract = {{Die Keimzelle der Musikwissenschaft als geisteswissenschaftlicher Disziplin liegt in den Bemühungen des 19. Jahrhunderts, die Werke herausragender Komponisten zu konservieren und einer breiteren Öffentlichkeit zu erschließen. In diesem Umfeld erschien im Jahr 1851 der erste Band der Bach-Gesamtausgabe, herausgegeben von der Leipziger Bachgesellschaft. Alle nachfolgenden Musiker-Ausgaben entwickelten sich auf dieser Basis und reizten die Möglichkeiten des Buchmediums in zunehmenden Maße aus. Seit etwa zehn Jahren wird versucht, das Potential digitaler Medien für die Musikphilologie zu erschließen. Ausgehend von der Geschichte musikwissenschaftlicher Ausgaben und einer kritischen Reflektion des bisher Geleisteten, weist dieser Band mögliche neue Perspektiven für zukünftige, dem neuen Medium angemessene Editionsformen auf.}}, author = {{Kepper, Johannes}}, isbn = {{978-3-8448-0076-0}}, keywords = {{admin:website, Codierungsformate, DigitaleMusikedition, Glossar, Bibliografie online}}, publisher = {{Books on Demand}}, title = {{{Musikedition im Zeichen neuer Medien – Historische Entwicklung und gegenwärtige Perspektiven musikalischer Gesamtausgaben}}}, volume = {{5}}, year = {{2011}}, } @book{55813, author = {{Kepper, Johannes and Roland, Perry D.}}, title = {{{Music Encoding Initiative Tag Library, 2010-05 Release}}}, year = {{2010}}, } @article{55820, author = {{Kepper, Johannes}}, journal = {{it – Information Technology}}, number = {{4}}, pages = {{216–221}}, title = {{{XML-basierte Codierung musikwissenschaftlicher Daten – Zu den Voraussetzungen einer digitalen Musikedition}}}, volume = {{51}}, year = {{2009}}, } @inbook{55838, author = {{Kepper, Johannes and Morent, Stefan}}, booktitle = {{Digitale Edition zwischen Experiment und Standardisierung}}, editor = {{Stadler, Peter and Veit, Joachim}}, isbn = {{978-3-11-023113-7}}, pages = {{265–280}}, publisher = {{Walter de Gruyter}}, title = {{{Anforderungen an ein musikeditorisches Codierungsformat}}}, doi = {{10.1515/9783110231144.265}}, year = {{2009}}, } @article{55819, author = {{Kepper, Johannes and Röwenstrunk, Daniel}}, journal = {{Forum Musikbibliothek}}, number = {{1}}, pages = {{36–49}}, title = {{{Das Edirom-Projekt. Werkzeuge für digitale Formen wissenschaftlich-kritischer Musikeditionen}}}, volume = {{28}}, year = {{2007}}, }