Eulalie: a documentary system for the collaborative preservation of electroacoustic music based on the Doremus ontology (original) (raw)
Free related PDFsRelated papers
Free PDF
Free PDF
Free PDF
In: Journal of New Music Research - Volume 47, 2018 - Issue 4: Digital Philology for Multimedia Cultural Heritage , 2018
The article highlights the interest of an ontological analysis in addressing issues related to the preservation and restoration of musical works. The latter are considered as artefacts that function aesthetically. Such entities depend on the inscription of a trace, whose durability can be provided in three ways: oral, written and phonographic. The recording can either document a work (or a musical event) or constitute it. A careful consideration of this alternative, in relation to the way in which the artefact was conceived, is useful when one chooses appropriate approaches to the preservation and restoration of musical works.
Free PDF
Assessing Music Ontologies for the development of a complex database
The increasing volume and diversity of musical information have been creating a challenge for the uniform creation, reuse, and sharing of this kind of information. As part of addressing this challenge, there has been a growing interest in musical ontologies, as a technique to support the sharing of heterogeneous musical information, both for commercial and cultural dissemination purposes. Motivated by a specific objective, in the context of the development of an information system on musicians and respective artistic production and professional career, existing ontologies for the music domain, in general, were surveyed. The purpose of this study is to support the hypothesis that this approach can not only support the specific requirement of that objective but also facilitate interoperability with other existing systems, with databases and catalogs built with multiple technical solutions.
Free PDF
Free PDF
Free PDF
Free PDF
Free PDF
The Poverty of Musical Ontology
Journal of Music and Meaning, 2014
Aaron Ridley posed the question of whether results in the ontology of musical works would have implications for judgements about the interpretation, meaning or aesthetic value of musical works and performances. His arguments for the conclusion that the ontology of musical works have no aesthetic consequences are unsuccessful, but he is right in thinking (in opposition to Andrew Kania and others) that ontological judgements have no aesthetic consequences. The key to demonstrating this conclusion is the recognition that ontological judgments are a priori and aesthetic judgments are empirical. A priori judgements have no empirical consequences. Neither fundamental ontology of music nor higher- order ontological reflections have any aesthetic consequences.
Free PDF
