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Music ontology is a framework that is used to publish structured data related to music and became available on the Semantic Web through data interfaces. This process is articulated in this article through the analysis of the Musical Greek Audiovisual Collections (M.EL.O.S.) project and its ontology. Specifically, the project involves the integration of three different types of music collections, gathered on a common platform, Reasonable Graph (RG), while retaining the autonomy of the participating institutions. The suggested ontology was initially based on the international conceptual models FRBR, FRBRoo, FRAD and FRSAD and their WEMI (Work, Expression, Manifestation, Item) ontologies, while their structure and role in the formation of the musical ontology of the M.EL.O.S. project was also analysed. Being evident that the original ontology could not cover the description needs of the music ontology, the already existing music ontology “MUSIC ONTOLOGY” was additionally utilized, adding the established type of entities “Agent” (Person, Organization, Family) and “Subject” (Concept, Place, Event, Object, Genre and Subject Chain). Thus, additional fields specialized metadata descriptions appeared. The Reasonable Graph platform is the one that eventually supported music ontology, data interconnection, and the ability to access and research music data with a focus on interoperability and the detailed descriptions of the music materials. Thus, through visualisation examples of the final product, the connection between metadata, entities and conceptual models is explained, while the processes and findings of the analyses within the M.EL.O.S. project opened new paths in data interconnection and the importance of abundance in it. Thus, this paper goes beyond the common presentation of basic elements of music ontology and focuses on its development, the steps and logic it followed, the specializations, and its enrichment, providing a basis for future references and approaches to organizing and managing complex musical information. It also covers the key outcomes of the project and its ontology, which contribute to the development of an appropriate music ontology as a result of the M.EL.O.S. project outcomes. This includes processes such as discussions about project and ontology needs, the automated extraction of music content from participating institutions, the crowdsourcing procedures, and the development of collaborative operations. These efforts were implemented on the Reasonable Graph system, alongside the transfer of metadata and digital/digitized documents.

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Creation of a Music Ontology in the Framework of the Project Greek Music Audiovisual Collections (M.EL.O.S.)

  • 会议论文

  • 发表日期：

    2025年

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  • Pantelis Brattis,
  • Emmanouel Garoufallou,
  • Eugenios Politis,
  • Pavlos Siskos,
  • Petros Vouvaris,
  • Evangelia Spyrakou,
  • Thalia Adelfopoulou,
  • Giorgos Kokkonis,
  • Nikos Ordoulidis,
  • Giorgos Evangelou,
  • Aimilios Kampouropoulos,
  • Asterios Zacharakis,
  • Savvas Kazanis,
  • Vera Kriezi,
  • Valia Vraka,
  • Mirena Mountzia,
  • Kostas Maistrelis,
  • Simos Leonidakos,
  • Nikos Papazis,
  • Niki-Maria Chatziefstratiou

摘要

Music ontology is a framework that is used to publish structured data related to music and became available on the Semantic Web through data interfaces. This process is articulated in this article through the analysis of the Musical Greek Audiovisual Collections (M.EL.O.S.) project and its ontology. Specifically, the project involves the integration of three different types of music collections, gathered on a common platform, Reasonable Graph (RG), while retaining the autonomy of the participating institutions. The suggested ontology was initially based on the international conceptual models FRBR, FRBRoo, FRAD and FRSAD and their WEMI (Work, Expression, Manifestation, Item) ontologies, while their structure and role in the formation of the musical ontology of the M.EL.O.S. project was also analysed. Being evident that the original ontology could not cover the description needs of the music ontology, the already existing music ontology “MUSIC ONTOLOGY” was additionally utilized, adding the established type of entities “Agent” (Person, Organization, Family) and “Subject” (Concept, Place, Event, Object, Genre and Subject Chain). Thus, additional fields specialized metadata descriptions appeared. The Reasonable Graph platform is the one that eventually supported music ontology, data interconnection, and the ability to access and research music data with a focus on interoperability and the detailed descriptions of the music materials. Thus, through visualisation examples of the final product, the connection between metadata, entities and conceptual models is explained, while the processes and findings of the analyses within the M.EL.O.S. project opened new paths in data interconnection and the importance of abundance in it. Thus, this paper goes beyond the common presentation of basic elements of music ontology and focuses on its development, the steps and logic it followed, the specializations, and its enrichment, providing a basis for future references and approaches to organizing and managing complex musical information. It also covers the key outcomes of the project and its ontology, which contribute to the development of an appropriate music ontology as a result of the M.EL.O.S. project outcomes. This includes processes such as discussions about project and ontology needs, the automated extraction of music content from participating institutions, the crowdsourcing procedures, and the development of collaborative operations. These efforts were implemented on the Reasonable Graph system, alongside the transfer of metadata and digital/digitized documents.