Semantic Integration of MIR Datasets with the Polifonia Ontology Network

Integration between different data formats, and between data belonging to different collections, is an ongoing challenge in the MIR field. Semantic Web tools have proved to be promising resources for making different types of music information interoperable. However, the use of these technologies has so far been limited and scattered in the field. To address this, the Polifonia project is developing an ontological ecosystem that can cover a wide variety of musical aspects (musical features, instruments, emotions, performances). In this paper, we present the Polifonia Ontology Network, an ecosystem that enables and fosters the transition towards semantic MIR

Scholarly Music Editions as Graph: Semantic Modelling of the Anton Webern Gesamtausgabe

This paper presents a first draft of the ongoing research at the Anton Webern Gesamt- ausgabe (Basel, CH) to apply RDF-based semantic models for the purpose of a scholarly digital music edition. A brief overview of different historical positions to approach music from a graph-theoretical perspective is followed by a list of music- related and other RDF vocabularies that may support this goal, such as MusicOWL, DoReMus, CIDOC CRMinf, or the NIE-INE ontologies. Using the example of some of Webern’s sketches for two drafted Goethe settings (M306 & M307), a preliminary graph-based model for philological knowledge and processes is envisioned, which incorporates existing ontologies from the context of cultural heritage and music. Finally, possible use-cases, and the consequences of such an approach to scholarly music editions, are discussed

Scholarly Music Editions as Graph: Semantic Modelling of the Anton Webern Gesamtausgabe

This paper presents a first draft of the ongoing research at the Anton Webern Gesamtausgabe (Basel, CH) to apply RDF-based semantic models for the purpose of a scholarly digital music edition. A brief overview of different historical positions to approach music from a graph-theoretical perspective is followed by a list of music-related and other RDF vocabularies that may support this goal, such as MusicOWL, DoReMus, CIDOC CRMinf, or the NIE-INE ontologies. Using the example of some of Webern's sketches for two drafted Goethe settings (M306 & M307), a preliminary graph-based model for philological knowledge and processes is envisioned, which incorporates existing ontologies from the context of cultural heritage and music. Finally, possible use-cases, and the consequences of such an approach to scholarly music editions, are discussed

Crowdsourcing Linked Data on listening experiences through reuse and enhancement of library data

Research has approached the practice of musical reception in a multitude of ways, such as the analysis of professional critique, sales figures and psychological processes activated by the act of listening. Studies in the Humanities, on the other hand, have been hindered by the lack of structured evidence of actual experiences of listening as reported by the listeners themselves, a concern that was voiced since the early Web era. It was however assumed that such evidence existed, albeit in pure textual form, but could not be leveraged until it was digitised and aggregated. The Listening Experience Database (LED) responds to this research need by providing a centralised hub for evidence of listening in the literature. Not only does LED support search and reuse across nearly 10,000 records, but it also provides machine-readable structured data of the knowledge around the contexts of listening. To take advantage of the mass of formal knowledge that already exists on the Web concerning these contexts, the entire framework adopts Linked Data principles and technologies. This also allows LED to directly reuse open data from the British Library for the source documentation that is already published. Reused data are re-published as open data with enhancements obtained by expanding over the model of the original data, such as the partitioning of published books and collections into individual stand-alone documents. The database was populated through crowdsourcing and seamlessly incorporates data reuse from the very early data entry phases. As the sources of the evidence often contain vague, fragmentary of uncertain information, facilities were put in place to generate structured data out of such fuzziness. Alongside elaborating on these functionalities, this article provides insights into the most recent features of the latest instalment of the dataset and portal, such as the interlinking with the MusicBrainz database, the relaxation of geographical input constraints through text mining, and the plotting of key locations in an interactive geographical browser

The Music Annotation Pattern

The annotation of music content is a complex process to represent due to its inherent multifaceted, subjectivity, and interdisciplinary nature. Numerous systems and conventions for annotating music have been developed as independent standards over the past decades. Little has been done to make them interoperable, which jeopardises cross-corpora studies as it requires users to familiarise with a multitude of conventions. Most of these systems lack the semantic expressiveness needed to represent the complexity of the musical language and cannot model multi-modal annotations originating from audio and symbolic sources. In this article, we introduce the Music Annotation Pattern, an Ontology Design Pattern (ODP) to homogenise different annotation systems and to represent several types of musical objects (e.g. chords, patterns, structures). This ODP preserves the semantics of the object s content at different levels and temporal granularity. Moreover, our ODP accounts for multi-modality upfront, to describe annotations derived from different sources, and it is the first to enable the integration of music datasets at a large scale

RePIM in LOD: semantic technologies to manage, preserve, and disseminate knowledge about Italian secular music and lyric poetry from the 16th-17th centuries

Il progetto RePIM in LOD si è posto l’obiettivo di pubblicare il "Repertorio della Poesia Italiana in Musica, 1500-1700" (RePIM) come dataset Linked Open Data (LOD). Per l'ampiezza e il dettaglio dei suoi contenuti, il RePIM è un archivio di riferimento per la ricerca sulla musica profana italiana dei secoli XVI-XVII. Negli ultimi anni, gli studiosi hanno potuto accedervi attraverso un'applicazione web realizzata nei primi anni Duemila. A causa dell'obsolescenza della sua piattaforma informatica, l'archivio RePIM era destinato a essere messo offline. Per preservare questa preziosa fonte, il progetto ha migrato i suoi contenuti in una base di conoscenza adottando tecnologie semantiche e progettando un'applicazione aggiornata per l'utente finale. L'articolo illustra le problematiche poste dalla gestione delle informazioni sulla tradizione madrigalistica e della conservazione digitale delle informazioni bibliografiche e filologiche nel campo della musica profana italiana e della poesia lirica dei secoli XVI-XVII.The RePIM in LOD project aimed to publish the "Repertorio della Poesia Italiana in Musica, 1500-1700" (RePIM) as Linked Open Data (LOD) dataset. For the extent and detail of its contents, RePIM is a reference archive for research on Italian secular music from the 16th-17th centuries. In recent years, scholars have been able to access it through a public web-based application. Due to the obsolescence of its information technology platform, the RePIM repository was set to be taken offline. To preserve this precious source, the project migrated its contents into a knowledge base adopting semantic technologies and designing an up-to-date enduser application. The article illustrates the challenges of managing information about madrigal tradition and the digital knowledge preservation of bibliographic and philological information in the field of Italian secular music and lyric poetry of the 16th-17th centuries

Millora del sistema de recuperació d'informació del blog de Mashcat. Proposta de conceptualització i esquema de metadades per al cercador de mashups del blog de MashCat.

Treballs Finals de Grau d'Informació i Documentació, Facultat de Biblioteconomia i Documentació, Universitat de Barcelona, Curs: 2017-2018, Tutor: Miquel CentellesEls objectius del treball són els d’establir un model de representació i un esquema de dades per a música mashup i el d’elaborar una conceptualització del fenomen i obra mashup. En relació al primer objectiu, aquest suposarà les bases conceptuals d’un cercador a desenvolupar en el futur. El treball consta de buit capítols estructurats en introducció, cos (de quatre capítols), conclusió, bibliografia i annex. Podem concebre que, al seu torn, el cos s’estructura en dos grans blocs: el primer, que estableix tot el marc conceptual del treball, i el segon, que desenvolupa el mateix. El primer bloc el formen tres capítols: el marc teòric (que defineix el concepte del mashup), el punt de partida (que situa l’origen del treball i la necessitat de millora) i l’estat de la qüestió (que revisa la bibliografia existent sobre el tema). El segon bloc el forma el capítol de la proposta de conceptualització, que conté els objectius, la metodologia i la proposta de millora. Per últim, l’annex el formen l’enquesta original i el glossari. Finalment, un apunt pragmàtic: el treball consta almenys de sis nivells jeràrquics. A cadascun d’aquests nivells li he assignat un denominador únic, de manera que sigui possible situar-nos dins la jerarquia: capítol, apartat, subapartat, sub-subapartat, punt i subpunt. Per raons de claredat, el sumari representa només fins al quart nivell

Graph Data-Models and Semantic Web Technologies in Scholarly Digital Editing

This volume is based on the selected papers presented at the Workshop on Scholarly Digital Editions, Graph Data-Models and Semantic Web Technologies, held at the Uni- versity of Lausanne in June 2019. The Workshop was organized by Elena Spadini (University of Lausanne) and Francesca Tomasi (University of Bologna), and spon- sored by the Swiss National Science Foundation through a Scientific Exchange grant, and by the Centre de recherche sur les lettres romandes of the University of Lausanne. The Workshop comprised two full days of vibrant discussions among the invited speakers, the authors of the selected papers, and other participants.1 The acceptance rate following the open call for papers was around 60%. All authors – both selected and invited speakers – were asked to provide a short paper two months before the Workshop. The authors were then paired up, and each pair exchanged papers. Paired authors prepared questions for one another, which were to be addressed during the talks at the Workshop; in this way, conversations started well before the Workshop itself. After the Workshop, the papers underwent a second round of peer-review before inclusion in this volume. This time, the relevance of the papers was not under discus- sion, but reviewers were asked to appraise specific aspects of each contribution, such as its originality or level of innovation, its methodological accuracy and knowledge of the literature, as well as more formal parameters such as completeness, clarity, and coherence. The bibliography of all of the papers is collected in the public Zotero group library GraphSDE20192, which has been used to generate the reference list for each contribution in this volume. The invited speakers came from a wide range of backgrounds (academic, commer- cial, and research institutions) and represented the different actors involved in the remediation of our cultural heritage in the form of graphs and/or in a semantic web en- vironment. Georg Vogeler (University of Graz) and Ronald Haentjens Dekker (Royal Dutch Academy of Sciences, Humanities Cluster) brought the Digital Humanities research perspective; the work of Hans Cools and Roberta Laura Padlina (University of Basel, National Infrastructure for Editions), as well as of Tobias Schweizer and Sepi- deh Alassi (University of Basel, Digital Humanities Lab), focused on infrastructural challenges and the development of conceptual and software frameworks to support re- searchers’ needs; Michele Pasin’s contribution (Digital Science, Springer Nature) was informed by his experiences in both academic research, and in commercial technology companies that provide services for the scientific community. The Workshop featured not only the papers of the selected authors and of the invited speakers, but also moments of discussion between interested participants. In addition to the common Q&A time, during the second day one entire session was allocated to working groups delving into topics that had emerged during the Workshop. Four working groups were created, with four to seven participants each, and each group presented a short report at the end of the session. Four themes were discussed: enhancing TEI from documents to data; ontologies for the Humanities; tools and infrastructures; and textual criticism. All of these themes are represented in this volume. The Workshop would not have been of such high quality without the support of the members of its scientific committee: Gioele Barabucci, Fabio Ciotti, Claire Clivaz, Marion Rivoal, Greta Franzini, Simon Gabay, Daniel Maggetti, Frederike Neuber, Elena Pierazzo, Davide Picca, Michael Piotrowski, Matteo Romanello, Maïeul Rouquette, Elena Spadini, Francesca Tomasi, Aris Xanthos – and, of course, the support of all the colleagues and administrative staff in Lausanne, who helped the Workshop to become a reality. The final versions of these papers underwent a single-blind peer review process. We want to thank the reviewers: Helena Bermudez Sabel, Arianna Ciula, Marilena Daquino, Richard Hadden, Daniel Jeller, Tiziana Mancinelli, Davide Picca, Michael Piotrowski, Patrick Sahle, Raffaele Viglianti, Joris van Zundert, and others who preferred not to be named personally. Your input enhanced the quality of the volume significantly! It is sad news that Hans Cools passed away during the production of the volume. We are proud to document a recent state of his work and will miss him and his ability to implement the vision of a digital scholarly edition based on graph data-models and semantic web technologies. The production of the volume would not have been possible without the thorough copy-editing and proof reading by Lucy Emmerson and the support of the IDE team, in particular Bernhard Assmann, the TeX-master himself. This volume is sponsored by the University of Bologna and by the University of Lausanne. Bologna, Lausanne, Graz, July 2021 Francesca Tomasi, Elena Spadini, Georg Vogele

From Music Ontology Towards Ethno-Music-Ontology

This paper presents exploratory work investigating the suitability of the Music Ontology - the most widely used formal specification of the music domain - for modelling non-Western musical traditions. Four contrasting case studies from a variety of musical cultures are analysed: Dutch folk song research, reconstructive performance of rural Russian traditions, contemporary performance and composition of Persian classical music, and recreational use of a personal world music collection. We propose semantic models describing the respective do- mains and examine the applications of the Music Ontology for these case studies: which concepts can be successfully reused, where they need adjustments, and which parts of the reality in these case studies are not covered by the Mu- sic Ontology. The variety of traditions, contexts and modelling goals covered by our case studies sheds light on the generality of the Music Ontology and on the limits of generalisation “for all musics” that could be aspired for on the Semantic Web