ODD Structures and Where to Find Them

In the past twenty years, the technical setup of the Music Encoding Initiative (MEI) data framework has been adjusted several times. Each of those transitions was motivated by the wish to improve the ways in which MEI could be integrated with other formats, to simplify the maintenance of MEI, and to encourage more people to actively contribute to the development of MEI. Some of those objectives are contradictory, and accordingly, there is no single right answer for all times about the best possible technical setup for MEI. The main purpose of this poster is to give a historical overview of the technical setups that MEI has gone through in the 20 or so years of its existence, and to illustrate the current workflows. Ideally, this empowers wider parts of the community to contribute to the continued development of both the MEI specification and documentation. Eventually, it will explain the steps necessary to set up a local working environment to participate in these developments

ODD Structures and Where to Find Them

In the past twenty years, the technical setup of the Music Encoding Initiative (MEI) data framework has been adjusted several times. Each of those transitions was motivated by the wish to improve the ways in which MEI could be integrated with other formats, to simplify the maintenance of MEI, and to encourage more people to actively contribute to the development of MEI. Some of those objectives are contradictory, and accordingly, there is no single right answer for all times about the best possible technical setup for MEI. The main purpose of this poster is to give a historical overview of the technical setups that MEI has gone through in the 20 or so years of its existence, and to illustrate the current workflows. Ideally, this empowers wider parts of the community to contribute to the continued development of both the MEI specification and documentation. Eventually, it will explain the steps necessary to set up a local working environment to participate in these developments

»Play it again, Sam« – Levels of Complexity in Encoding Performance Personnel

Capturing the personnel needed to perform a musical work in MEI metadata is straightforward with standard ensemble configurations, such as string quartets. In contrast, it can be highly complex for extensive orchestral settings, stage music, or, e.g., twentieth-century ‘Neue Musik.’ Especially in the latter case, the degree of possible variation is virtually limitless. While MEI 4.0.1 offers places within (descendants of , ) for capturing such data and provides means for quite complicated data structures through, e.g., nesting or referencing, there is still room for improvement. First of all, data structures should stay as simple and generic as possible. That is to say, that structural modification and a more detailed description of MEI's data model for the benefit of a more concise encoding should be the target, especially when envisioning a more structured encoding of more complex setups. For example, representing dependencies between performers and instruments is extremely limited in the data model for in MEI 4.0.1 (see definition of and also Gubsch & Ried, 2021). This poster takes as a starting point issues from two edition projects dealing with music from the twentieth century to illustrate philological intricacies and investigate the possibilities to encode them with MEI 4.0.1

Patient and surgery related factors associated with fatigue type polyethylene wear on 49 PCA and DURACON retrievals at autopsy and revision

<p>Abstract</p> <p>Background</p> <p>Polyethylene wear is an important factor for longevity of total knee arthroplasty. Proven and suspicious factors causing wear can be grouped as material, patient and surgery related. There are more studies correlating design and/or biomaterial factors to in vivo wear than those to patient and surgery related factors. Many retrieval studies just include revision implants and therefore may not be representative. This study is aimed to correlate patient- and surgery- related factors to visual wear score by minimizing design influence and include both autopsy and revision implants. Comparison between the groups was expected to unmask patient and surgery-related factors responsible for wear.</p> <p>Methods</p> <p>The amount of joint side wear on polyethylene retrievals was measured using a modification of an established visual wear score. Fatigue type wear was defined as summation of the most severe wear modes of delamination, pitting and cracks. Analysis of patient and surgery related variables suspicious to cause wear included prospectively sampled patient activity which was measured by self reported walking capacity. Statistical analysis was done by univariate analysis of variance. Activity level and implantation time were merged to an index of use and correlated to the wear score.</p> <p>Results</p> <p>Wear score after comparable implantation time was significantly less in the autopsy group. Even so, fatigue type wear accounted for 84 and 93 % of total wear score on autopsy and revision implants respectively. A highly significant influence on wear score was found in time of implantation (p = 0.002), level of activity (p = 0.025) and inserts belonging to revision group (p = 0.006). No influence was found for the kind of patella replacement (p = 0.483). Body mass index and accuracy of component alignment had no significant influence on visual wear score. Fatigue-type wear in the medial compartment was closely correlated to the index of use in the autopsy (R²= 0.383) and the revision group (R²= 0.813).</p> <p>Conclusion</p> <p>The present study's finding of substantial fatigue type wear in both autopsy and revision retrievals supports the theory that polyethylene fatigue strength is generally exceeded in this type of prosthesis. Furthermore, this study correlated fatigue-type polyethylene wear to an index of use as calculated by activity over time. Future retrieval studies may use activity over time as an important patient related factor correlated to the visual wear score. When evaluating total knee arthroplasty routine follow up, the surgeon must think of substantial wear present even without major clinical signs.</p

music-encoding/music-encoding: MEI 5.0

&lt;p&gt;About version 5.0&lt;/p&gt;&lt;p&gt;Release 5.0 of MEI focuses primarily on the guidelines, development infrastructure, and consistency, with only limited changes to the specifications. Perhaps the most important additions are the introduction of the MEI Basic customization, and the availability of an auto-generated PDF version of the Guidelines (&lt;a href="https://music-encoding.org/guidelines/v5/content/introduction.html#aboutVersion"&gt;see the guidelines for more details&lt;/a&gt;). The Release Managers for MEI 5.0 were the @music-encoding/technical-team-co-chairs, @bwbohl and @musicEnfanthen .&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Full Changelog&lt;/strong&gt;: &lt;a href="https://github.com/music-encoding/music-encoding/compare/v4.0.1...v5.0"&gt;https://github.com/music-encoding/music-encoding/compare/v4.0.1...v5.0&lt;/a&gt;&lt;/p&gt;&lt;p&gt;The Music Encoding Initiative schema and guidelines development repository at the time of the MEI 5.0 release.&lt;/p&gt