DLI-2: Creating the Digital Music Library: Final Report to the National Science Foundation

Indiana University’s Variations2 Digital Music Library project focused on three chief areas of research and development: system architecture, including content representation and metadata standards; component-based application architecture; and network services. We tested and evaluated commercial technologies, primarily for multimedia and storage management; developed custom software solutions for the needs of the music library community; integrated commercial and custom software products; and tested and evaluated prototype systems for music instruction and library services, locally at Indiana University, and at a number of satellite sites, in the U.S. and overseas. This document is the project's final report to the National Science Foundation.This work was sponsored by the National Science Foundation under award no. 9909068, as part of the DLI-2 initiative

AXMEDIS 2008

The AXMEDIS International Conference series aims to explore all subjects and topics related to cross-media and digital-media content production, processing, management, standards, representation, sharing, protection and rights management, to address the latest developments and future trends of the technologies and their applications, impacts and exploitation. The AXMEDIS events offer venues for exchanging concepts, requirements, prototypes, research ideas, and findings which could contribute to academic research and also benefit business and industrial communities. In the Internet as well as in the digital era, cross-media production and distribution represent key developments and innovations that are fostered by emergent technologies to ensure better value for money while optimising productivity and market coverage

Die FRBR customization im Datenformat der Music Encoding Initiative (MEI)

Vor dem Hintergrund des digitalen Wandels und der Entwicklung virtueller Forschungsumgebungen wird eine stärkere Kooperation von Bibliotheken und Forschungsinstitutionen künftig unabdingbar sein. Die zunehmende Internationalisierung in Bereichen der Datenaufbereitung stellt wachsende Anforderungen an Bibliotheken wie auch Forschungsinstitutionen. Die vorliegende Arbeit thematisiert die Implementierung des Modells der Functional Requirements for Bibliographic Records (FRBR)im Datenformat der Music Encoding Initiative (MEI), welches sich in den letzten Jahren als Standard zur Codierung von Musiknotation etabliert hat und sehr detaillierte Möglichkeiten auch zur Erfassung von Metadaten bietet. Ziel dieser Kombination ist es ausdrücklich, größtmögliche Kompatibilität zwischen den in musikwissenschaftlichen Projekten erarbeiteten, MEI-basierten Forschungsdaten und bibliothekarischen Erschließungstechniken herzustellen. Die Vorteile einer solchen Erweiterung erscheinen gerade vor dem Hintergrund der bevorstehenden Umstellung auf RDA als überaus lohnenswert.Following the digital turn and the increasing availability and usefulness of virtual research environments, a stronger collaboration between libraries and research institutions will become an essential prerequisite for future projects. The increasing internationalization in the field of data curation and management leads to higher requirements for libraries and research institutions. This study deals with the implementation of the model of the Functional Requirements for Bibliographic Records(FRBR)in the data framework of the Music Encoding Initiative (MEI), which received much recognition as a standard for encoding music notation in recent years. MEI offers manifold possibilities to store detailed metadata and aims at providing maximum compatibility between the data generated by musicological research projects and best-practice cataloging principles in libraries. Given the upcoming transition to RDA, this combination seems timely and highly promising

TOWARDS ORGANIZING AND RETRIEVING CLASSICAL MUSIC BASED ON FUNCTIONAL REQUIREMENTS FOR BIBLIOGRAPHIC RECORDS (FRBR)

Music is one of the most popular categories in general public’s Web search. Compared to other types of information retrieval, music search requires a different approach. This is due to the fact that music information includes many unique elements such as composers, performers, instruments, and various media formats, which could make it difficult for the users to realize that there may be related or even duplicated music information available in a different format. Therefore, the methods of organization and presentation for music information become significant in the field of Music Information Retrieval (MIR). Functional Requirements for Bibliographic Records (FRBR) is considered an effective model for representing the relationships between musical works and organizing the information of musical works. The goals of this dissertation are twofold. First, I adopted FRBR as a model to represent classical music and propose additional attributes and relationships through user studies to enrich music information for users. Second, I examined, through user studies, how the FRBR model improves MIR compared to existing keyword-based retrieval methods. In order to achieve these two goals, three phases of studies are designed. The first phase examined users’ perspectives toward FRBR representation and elicited their views on the importance of certain attributes and relationships in describing bibliographic records of classical music work. Phase 2 involved a content analysis of Web users’ questions regarding classical music information obtained from Yahoo! Answers, which aimed to further understand Web users’ information needs for classical music information and to examine whether the FRBR-based classical music representation is adequate for satisfying those needs. The third phase examined users’ retrieval performance and perceptions with FRBR-based music retrieval in comparison with FRBR-like search method using objective and subjective measures that are based on usability characteristics. This study has two primary contributions. First, it proposed an extended FRBR-based classical music representation model, CMFRBR, which was derived through interaction with music experts, information experts, and general music seekers. Second, it examines user experiences and system performance of classical music information retrieval using CMFRBR based search system compared to FRBR-like music retrieval system on the Web in multiple dimensions

EVA London 2022: Electronic Visualisation and the Arts

The Electronic Visualisation and the Arts London 2022 Conference (EVA London 2022) is co-sponsored by the Computer Arts Society (CAS) and BCS, the Chartered Institute for IT, of which the CAS is a Specialist Group. Of course, this has been a difficult time for all conferences, with the Covid-19 pandemic. For the first time since 2019, the EVA London 2022 Conference is a physical conference. It is also an online conference, as it was in the previous two years. We continue with publishing the proceedings, both online, with open access via ScienceOpen, and also in our traditional printed form, for the second year in full colour. Over recent decades, the EVA London Conference on Electronic Visualisation and the Arts has established itself as one of the United Kingdom’s most innovative and interdisciplinary conferences. It brings together a wide range of research domains to celebrate a diverse set of interests, with a specialised focus on visualisation. The long and short papers in this volume cover varied topics concerning the arts, visualisations, and IT, including 3D graphics, animation, artificial intelligence, creativity, culture, design, digital art, ethics, heritage, literature, museums, music, philosophy, politics, publishing, social media, and virtual reality, as well as other related interdisciplinary areas. The EVA London 2022 proceedings presents a wide spectrum of papers, demonstrations, Research Workshop contributions, other workshops, and for the seventh year, the EVA London Symposium, in the form of an opening morning session, with three invited contributors. The conference includes a number of other associated evening events including ones organised by the Computer Arts Society, Art in Flux, and EVA International. As in previous years, there are Research Workshop contributions in this volume, aimed at encouraging participation by postgraduate students and early-career artists, accepted either through the peer-review process or directly by the Research Workshop chair. The Research Workshop contributors are offered bursaries to aid participation. In particular, EVA London liaises with Art in Flux, a London-based group of digital artists. The EVA London 2022 proceedings includes long papers and short “poster” papers from international researchers inside and outside academia, from graduate artists, PhD students, industry professionals, established scholars, and senior researchers, who value EVA London for its interdisciplinary community. The conference also features keynote talks. A special feature this year is support for Ukrainian culture after its invasion earlier in the year. This publication has resulted from a selective peer review process, fitting as many excellent submissions as possible into the proceedings. This year, submission numbers were lower than previous years, mostly likely due to the pandemic and a new requirement to submit drafts of long papers for review as well as abstracts. It is still pleasing to have so many good proposals from which to select the papers that have been included. EVA London is part of a larger network of EVA international conferences. EVA events have been held in Athens, Beijing, Berlin, Brussels, California, Cambridge (both UK and USA), Canberra, Copenhagen, Dallas, Delhi, Edinburgh, Florence, Gifu (Japan), Glasgow, Harvard, Jerusalem, Kiev, Laval, London, Madrid, Montreal, Moscow, New York, Paris, Prague, St Petersburg, Thessaloniki, and Warsaw. Further venues for EVA conferences are very much encouraged by the EVA community. As noted earlier, this volume is a record of accepted submissions to EVA London 2022. Associated online presentations are in general recorded and made available online after the conference