diff --git a/OMAC/catalog-v001.xml b/OMAC/catalog-v001.xml new file mode 100644 index 0000000..473e41c --- /dev/null +++ b/OMAC/catalog-v001.xml @@ -0,0 +1,9 @@ + + + + + + + + + diff --git a/OMAC/data/CRIM_data/CRIM_Mass_0003.ttl b/OMAC/data/CRIM_data/CRIM_Mass_0003.ttl new file mode 100644 index 0000000..61f58b1 --- /dev/null +++ b/OMAC/data/CRIM_data/CRIM_Mass_0003.ttl @@ -0,0 +1,47 @@ +@prefix ow:. +@prefix od:. +@prefix rdf: . +@prefix rdfs: . +@prefix dbp: . +@prefix dbr: . +@prefix viaf: . +@prefix dcterms: . +@prefix xsd: . + +viaf:313248912 + dcterms:title "Missa o gente brunette"^^xsd:string; + rdf:type ow:MusicalWork; + ow:composed_by viaf:44485735; + dbp:composed "1568"^^xsd:gYear; + dbp:genre ; + ow:sections_number "5"; + ow:has_section od:Kyrie_MissaBrunette, od:Gloria_MissaBrunette, od:Credo_MissaBrunette, od:Sanctus_MissaBrunette, od:AgnusDei_MissaBrunette. + +od:Kyrie_MissaBrunette +ow:order "1"^^xsd:int; +dbp:genre dbr:Kyrie; +ow:has_subsection od:Kyrie1_MissaBrunette, od:Christe_MissaBrunette, od:Kyrie2_MissaBrunette. + +od:Gloria_MissaBrunette + ow:order "2"^^xsd:int; + dbp:genre dbr:Gloria. + +od:Credo_MissaBrunette + ow:order "3"^^xsd:int; + dbp:genre dbr:Credo. + +od:Sanctus_MissaBrunette + ow:order "4"^^xsd:int; +dbp:genre dbr:Sanctus; +od:has_subsection od:Sanctus_ss_MissaBrunette, od:PleniSunt_MissaBrunette, od:Osanna_MissaBrunette, od:Benedictus_MissaBrunette. + +od:AgnusDei_MissaBrunette + ow:order "5"^^xsd:int; +dbp:genre ; +ow:has_subsection od:AgnusDei1_MissaBrunette, od:AgnusDei2_MissaBrunette. + +viaf:44485735 +rdf:type ow:Composer; +dbp:firstname "Nicolas"^^xsd:string; +dbp:familyname "de Marle"^^xsd:string; +dbp:name "Nicolas de Marle"^^xsd:string. diff --git a/OMAC/data/CRIM_data/CRIM_Mass_0003_RDFgraph.png b/OMAC/data/CRIM_data/CRIM_Mass_0003_RDFgraph.png new file mode 100644 index 0000000..21ad5a6 Binary files /dev/null and b/OMAC/data/CRIM_data/CRIM_Mass_0003_RDFgraph.png differ diff --git a/OMAC/data/CRIM_data/CRIM_Mass_0006.ttl b/OMAC/data/CRIM_data/CRIM_Mass_0006.ttl new file mode 100644 index 0000000..8eae633 --- /dev/null +++ b/OMAC/data/CRIM_data/CRIM_Mass_0006.ttl @@ -0,0 +1,50 @@ +@prefix ow: . +@prefix od: . +@prefix viaf: . +@prefix dbp: . +@prefix dcterms: . +@prefix rdfs: . +@prefix rdf: . +@prefix xsd: . +@prefix dbr: . + +viaf:313248882 + dcterms:title "Missa Je suis déshéritée"^^xsd:string; + rdf:type ow:MusicalWork; + ow:composed_by viaf:51955127; + dbp:composed "1556"^^xsd:gYear; + dbp:genre ; + ow:CRIM_identifier "CRIM_Mass_0006"^^xsd:string; #testing triple within CRIM project + dbp:url "http://crimproject.org/masses/CRIM_Mass_0006/"^^xsd:anyURI; #testing triple within CRIM project + ow:has_section od:Kyrie-MJD, od:Gloria-MJD, od:Credo-MJD, od:Sanctus-MJD, od:AgnusDei-MJD; + ow:sections_number "5"^^xsd:int. + + +viaf:51955127 + rdf:type ow:Composer; + dbp:firstname "Jean"^^xsd:string; + dbp:familyname "Guyon"^^xsd:string; + dbp:name "Jean Guyon"^^xsd:string. + +od:Kyrie-MJD + dbp:genre dbr:Kyrie; + ow:section_order "1"^^xsd:int; + ow:has_subsection od:Kyrie1-MJD, od:Christe-MJD, od:Kyrie2-MJD. + +od:Gloria-MJD + dbp:genre dbr:Gloria; + ow:section_order "2"^^xsd:int. + +od:Credo-MJD + dbp:genre dbr:Credo; + ow:section_order "3"^^xsd:int. + +od:Sanctus-MJD + ow:section_order "4"^^xsd:int; + dbp:genre dbr:Sanctus; + od:has_subsection od:Sanctus_ss_MJD, od:PleniSunt_MJD, od:Osanna_MJD, od:Benedictus_MJD. + +od:AgnusDei-MJD + ow:section_order "5"^^xsd:int; + dbp:genre ; + ow:has_subsection od:AgnusDei1_MJD, od:AgnusDei2_MJD. diff --git a/OMAC/data/CRIM_data/CRIM_Mass_0006_RDFgraph.png b/OMAC/data/CRIM_data/CRIM_Mass_0006_RDFgraph.png new file mode 100644 index 0000000..9b798aa Binary files /dev/null and b/OMAC/data/CRIM_data/CRIM_Mass_0006_RDFgraph.png differ diff --git a/OMAC/data/CRIM_data/CRIM_Relationship_R1.ttl b/OMAC/data/CRIM_data/CRIM_Relationship_R1.ttl new file mode 100644 index 0000000..fe0832c --- /dev/null +++ b/OMAC/data/CRIM_data/CRIM_Relationship_R1.ttl @@ -0,0 +1,42 @@ +@prefix od: . +@prefix ow: . +@prefix oc: . +@prefix rdf: . +@prefix xsd: . +@prefix dbp: . +@prefix viaf: . +@prefix dcterms: . + +viaf:89469141 + dbp:name "Claudin de Sermisy"^^xsd:string. + +viaf:180445237 + dcterms:title "Missa tota pulchra es"^^xsd:string; + dbp:genre ; + ow:composed_by viaf:89469141. + +od:Credo_180445237 + dcterms:title "Credo"^^xsd:string; + ow:section_of viaf:180445237; + oc:derivative_of od:Tota_pulchra_es. + #the last triple can be derived by reasoning over the ontology; it is here added for the sake of clarity/testing purposes. + + +od:Tota_pulchra_es + dcterms:title "Tota pulchra es"^^xsd:string; + ow:composed_by viaf:89469141; + oc:model_for od:Credo_180445237. + #the last triple can be derived by reasoning over the ontology; it is here added for the sake of clarity/testing purposes. + + +od:claim_rel_R1 + rdf:type oc:Quotation; + oc:has_model od:Tota_pulchra_es; + oc:has_derivative od:Credo_180445237; + oc:stated_by od:Ian_Lorenz; + oc:exact "true"^^xsd:boolean; + oc:monnayage "false"^^xsd:boolean. + + +od:Ian_Lorenz + dbp:name "Ian Lorenz"^^xsd:string. diff --git a/OMAC/data/CRIM_data/CRIM_Relationship_R1_RDFgraph.png b/OMAC/data/CRIM_data/CRIM_Relationship_R1_RDFgraph.png new file mode 100644 index 0000000..d04e654 Binary files /dev/null and b/OMAC/data/CRIM_data/CRIM_Relationship_R1_RDFgraph.png differ diff --git a/OMAC/data/CRIM_data/CRIM_Relationship_R2.ttl b/OMAC/data/CRIM_data/CRIM_Relationship_R2.ttl new file mode 100644 index 0000000..274478b --- /dev/null +++ b/OMAC/data/CRIM_data/CRIM_Relationship_R2.ttl @@ -0,0 +1,43 @@ +@prefix od: . +@prefix ow: . +@prefix oc: . +@prefix rdf: . +@prefix xsd: . +@prefix dbp: . +@prefix viaf: . +@prefix dcterms: . + +viaf:89469141 + dbp:name "Claudin de Sermisy"^^xsd:string. + +viaf:180445237 + dcterms:title "Missa tota pulchra es"^^xsd:string; + dbp:genre ; + ow:composed_by viaf:89469141. + +od:Credo_180445237 + dcterms:title "Credo"^^xsd:string; + ow:section_of viaf:180445237; + oc:derivative_of od:Tota_pulchra_es. + #the last triple can be derived by reasoning over the ontology; it is here added for the sake of clarity/testing purposes. + +od:Tota_pulchra_es + dcterms:title "Tota pulchra es"^^xsd:string; + ow:composed_by viaf:89469141; + oc:model_for od:Credo_180445237. + #the last triple can be derived by reasoning over the ontology; it is here added for the sake of clarity/testing purposes. + + +od:claim_R2 + rdf:type oc:NonMechanicalTransformation; + oc:has_model od:Tota_pulchra_es; + oc:has_derivative od:Credo_180445237; + oc:stated_by od:Ian_Lorenz; + oc:new_counter_subject "false"^^xsd:boolean; + oc:old_counter_subject_shifted_metrically "true"^^xsd:boolean; + oc:old_counter_subject_transposed "false"^^xsd:boolean; + oc:new_combination "false"^^xsd:boolean. + + +od:Ian_Lorenz + dbp:name "Ian Lorenz"^^xsd:string. diff --git a/OMAC/data/CRIM_data/CRIM_Relationship_R2_RDFgraph.png b/OMAC/data/CRIM_data/CRIM_Relationship_R2_RDFgraph.png new file mode 100644 index 0000000..eac609c Binary files /dev/null and b/OMAC/data/CRIM_data/CRIM_Relationship_R2_RDFgraph.png differ diff --git a/OMAC/data/CRIM_data/CRIM_observation1.ttl b/OMAC/data/CRIM_data/CRIM_observation1.ttl new file mode 100644 index 0000000..1a01657 --- /dev/null +++ b/OMAC/data/CRIM_data/CRIM_observation1.ttl @@ -0,0 +1,34 @@ +@prefix od: . +@prefix ow: . +@prefix oc: . +@prefix rdf: . +@prefix xsd: . +@prefix dbp: . +@prefix viaf: . +@prefix dcterms: . + +viaf:89469141 dbp:name "Claudin de Sermisy"^^xsd:string. + +od:Tota_pulchra_es + ow:composed_by viaf:89469141; + dcterms:title "Tota pulchra es"^^xsd:string. + +od:claim_P1 + rdf:type oc:StructureClaim; + oc:stated_by od:Ian_Lorenz; + oc:refers_to od:segment_P1; + oc:refers_to od:Tota_pulchra_es; #this triple can be inferred; it is here included for the sake of example. + oc:has_schema oc:Fuga_schema; + oc:melodic_interval_of_entry "4-"^^xsd:string; + oc:time_interval_of_entry "B2"^^xsd:string; + oc:periodic "false"^^xsd:boolean; + oc:strict "false"^^xsd:boolean; + oc:flexed "false"^^xsd:boolean; + oc:sequential "false"^^xsd:boolean; + oc:inverted "false"^^xsd:boolean; + oc:retrograde "false"^^xsd:boolean; + oc:remarks "Makes up a longer ID"^^xsd:string. + +od:segment_P1 + rdf:type oc:AnalyticSegment; + oc:segment_of od:Tota_pulchra_es. diff --git a/OMAC/data/CRIM_data/CRIM_observation1_RDFgraph.png b/OMAC/data/CRIM_data/CRIM_observation1_RDFgraph.png new file mode 100644 index 0000000..9cfd238 Binary files /dev/null and b/OMAC/data/CRIM_data/CRIM_observation1_RDFgraph.png differ diff --git a/OMAC/data/CRIM_data/CRIM_observation2.ttl b/OMAC/data/CRIM_data/CRIM_observation2.ttl new file mode 100644 index 0000000..3483ec6 --- /dev/null +++ b/OMAC/data/CRIM_data/CRIM_observation2.ttl @@ -0,0 +1,39 @@ +@prefix od: . +@prefix ow: . +@prefix oc: . +@prefix rdf: . +@prefix xsd: . +@prefix dbp: . +@prefix viaf: . +@prefix dcterms: . + +viaf:89469141 dbp:name "Claudin de Sermisy"^^xsd:string. + +viaf:180445237 + dcterms:title "Missa tota pulchra es"^^xsd:string; + ow:composed_by viaf:89469141. + +od:Credo_180445237 + ow:section_of viaf:180445237; + dcterms:title "Missa tota pulchra es:Credo"^^xsd:string. + +od:analytic_segment_P2 + rdf:type oc:AnalyticSegment; + oc:segment_of od:Credo_180445237. + +od:claim_P2 + rdf:type oc:StructureClaim; + oc:stated_by od:Ian_Lorenz; + oc:refers_to od:analytic_segment_P2; + oc:refers_to od:Credo_180445237;#can be inferred, included here for testing + oc:refers_to viaf:180445237;##can be inferred, included here for testing + oc:has_schema oc:Fuga_schema; + oc:melodic_interval_of_entry "4-"^^xsd:string; + oc:time_interval_of_entry "B2"^^xsd:string; + oc:periodic "false"^^xsd:boolean; + oc:strict "false"^^xsd:boolean; + oc:flexed "false"^^xsd:boolean; + oc:sequential "false"^^xsd:boolean; + oc:inverted "false"^^xsd:boolean; + oc:retrograde "false"^^xsd:boolean; + oc:remarks "Makes up a longer ID"^^xsd:string. diff --git a/OMAC/data/CRIM_data/CRIM_observation2_RDFgraph.png b/OMAC/data/CRIM_data/CRIM_observation2_RDFgraph.png new file mode 100644 index 0000000..29cd99c Binary files /dev/null and b/OMAC/data/CRIM_data/CRIM_observation2_RDFgraph.png differ diff --git a/OMAC/data/CRIM_data/readme.md b/OMAC/data/CRIM_data/readme.md new file mode 100644 index 0000000..a826ea0 --- /dev/null +++ b/OMAC/data/CRIM_data/readme.md @@ -0,0 +1,15 @@ +# CRIM DATA +This folder contains data based on the project CRIM (http://crimproject.org/). + +Folder content: +- **CRIM_Mass_0003.ttl:** RDF representation of *Missa o gente brunette* by Nicolas de Marle (see graph: CRIM_Mass_0003_RDFgraph.png) + +- **CRIM_Mass_0006.ttl:** RDF representation of *Missa je suis déshéritée* by Jean Guyon (see graph: CRIM_Mass_0006_RDFgraph.png) + +- **CRIM_observation1.ttl:** RDF representation of analytic claim identified by analyst Ian Lorenz in *Tota pulchra es* by Claudin de Sermisy (see RDF graph: CRIM_observation1_RDFgraph.png; example based on CRIM data available at: http://crimproject.org/observations/1) + +- **CRIM_observation2.ttl:** RDF representation of analytic claim identified by analyst Ian Lorenz in the *Credo* section of *Missa tota pulchra es* by Claudin de Sermisy (see RDF graph: CRIM_observation2_RDFgraph.png; example based on CRIM data available at: http://crimproject.org/observations/2) + +- **CRIM_Relationship_R1.ttl:** RDF representation of analytic claim - by Ian Lorenz - about the relation of derivation/quotation between *Tota pulchra es* and the *Credo* of *Missa tota pulchra es* (see RDF graph: CRIM_Relationship_R1_RDFgraph.png; example based on CRIM data available at: http://crimproject.org/relationships/1/) + +- **CRIM_Relationship_R2.ttl:** RDF representation of analytic claim - by Ian Lorenz - about the relation of derivation/non-mechanical transformation between *Tota pulchra es* and the *Credo* of *Missa tota pulchra es* (see RDF graph: CRIM_Relationship_R2_RDFgraph.png; example based on CRIM data available at: https://crimproject.org/relationships/2/) diff --git a/OMAC/data/readme.md b/OMAC/data/readme.md new file mode 100644 index 0000000..769146d --- /dev/null +++ b/OMAC/data/readme.md @@ -0,0 +1,4 @@ +# Data +These folders contain data for testing purposes. + +All RDF graphs are generated with RDF Grapher (https://www.ldf.fi/service/rdf-grapher) diff --git a/OMAC/data/varia/brahms_op25.ttl b/OMAC/data/varia/brahms_op25.ttl new file mode 100644 index 0000000..5200506 --- /dev/null +++ b/OMAC/data/varia/brahms_op25.ttl @@ -0,0 +1,51 @@ +@prefix ow:. +@prefix od:. +@prefix rdf: . +@prefix viaf: . +@prefix dcterms: . +@prefix dbp: . +@prefix dbr: . +@prefix xsd: . + +viaf:176303863 + rdf:type ow:MusicalWork; + dcterms:title "Piano Quartet Op. 25"^^xsd:string; + ow:composed_by viaf:7573295; + ow:sections_number "4"^^xsd:int; + ow:has_section od:Op_25_m1, od:Op_25_m2, od:Op_25_m3, od:Op_25_m4; + dbp:genre dbr:Chamber_music; + dbp:key dbr:G_minor; + dbp:composed "1856–1861"; + ow:scored_for od:176303863_pf_viola, od:176303863_pf_violin, od:176303863_pf_cello, od:176303863_pf_piano. + +od:176303863_pf_viola + rdf:type ow:PerformingForceAttribute; + ow:performing_force_type dbr:Viola; + ow:number_performing_force "1". + +od:176303863_pf_violin + rdf:type ow:PerformingForceAttribute; + ow:performing_force_type dbr:Violin; + ow:number_performing_force "1". + +od:176303863_pf_cello + rdf:type ow:PerformingForceAttribute; + ow:performing_force_type dbr:Cello; + ow:number_performing_force "1". + +od:176303863_pf_piano + rdf:type ow:PerformingForceAttribute; + ow:performing_force_type dbr:Piano; + ow:number_performing_force "1". + +viaf:7573295 + dbp:firstname "Johannes"^^xsd:string; + dbp:familyname "Brahms"^^xsd:string; + dbp:name "Johannes Brahms"^^xsd:string; + dbp:birthDate "1833-05-07"^^xsd:date; + dbp:deathDate "1897-04-03"^^xsd:date. + +od:Op_25_m1 ow:section_order "1"^^xsd:int. +od:Op_25_m2 ow:section_order "2"^^xsd:int. +od:Op_25_m3 ow:section_order "3"^^xsd:int. +od:Op_25_m4 ow:section_order "4"^^xsd:int. diff --git a/OMAC/data/varia/brahms_op25_RDFgraph.png b/OMAC/data/varia/brahms_op25_RDFgraph.png new file mode 100644 index 0000000..32d9fac Binary files /dev/null and b/OMAC/data/varia/brahms_op25_RDFgraph.png differ diff --git a/OMAC/data/varia/mozart_k385.ttl b/OMAC/data/varia/mozart_k385.ttl new file mode 100644 index 0000000..8b21518 --- /dev/null +++ b/OMAC/data/varia/mozart_k385.ttl @@ -0,0 +1,37 @@ +@prefix ow:. +@prefix od:. +@prefix rdfs:. +@prefix rdf: . +@prefix viaf: . +@prefix dcterms: . +@prefix dbp: . +@prefix dbr: . +@prefix xsd: . + +viaf:294918919 + dcterms:title "Symphony No. 35"^^xsd:string; + rdf:type ow:MusicalWork; + ow:composed_by viaf:32197206; + dbp:genre dbr:Symphony; + dbp:key dbr:D_major; + dbp:composed "1782"^^xsd:gYear; + ow:scored_for od:performing_force1; + ow:scored_for od:performing_force2. + +viaf:32197206 + dbp:firstname "Wolfgang Amadeus"^^xsd:string; + dbp:familyname "Mozart"^^xsd:string; + dbp:name "Wolfgang Amadeus Mozart"^^xsd:string; + dbp:birthDate "1756-01-27"^^xsd:date; + dbp:deathDate "1791-12-05"^^xsd:date. + + +od:performing_force1 + rdf:type ow:PerformingForceAttribute; + ow:performing_force_type dbr:Oboe; + ow:number_performing_force "2"^^xsd:int. + +od:performing_force2 + rdf:type ow:PerformingForceAttribute; + ow:performing_force_type dbr:Flute; + ow:number_performing_force "2"^^xsd:int. diff --git a/OMAC/data/varia/mozart_k385_RDFgraph.png b/OMAC/data/varia/mozart_k385_RDFgraph.png new file mode 100644 index 0000000..7650899 Binary files /dev/null and b/OMAC/data/varia/mozart_k385_RDFgraph.png differ diff --git a/OMAC/data/varia/readme.md b/OMAC/data/varia/readme.md new file mode 100644 index 0000000..84aee98 --- /dev/null +++ b/OMAC/data/varia/readme.md @@ -0,0 +1,6 @@ +# Varia +- **brahms_op25.ttl**: It shows the RDF representation of the Piano Quartet Op. 25 by Johannes Brahms; + +- **schoenberg_arrangement.ttl**: It shows the RDF representation of Arnold Schoenberg's arrangement of Brahms' Piano Quartet Op. 25. Note that, according to this model, there are two different works, i.e., viaf:176303863 and od:PQ_Op_25_arrangement) related via the relation ow:arrangement_of (i.e., od:PQ_Op_25_arrangement ow:arrangement_of viaf:176303863); + +- **mozart_k385.ttl**: It shows the RDF representation of Wolfgang Amadeus Mozart's Symphony No. 35. Note in this model the (partial) representation of performing forces associated to performing force types (e.g., Oboe and Flute) and number. diff --git a/OMAC/data/varia/schoenberg_arrangement.ttl b/OMAC/data/varia/schoenberg_arrangement.ttl new file mode 100644 index 0000000..4079606 --- /dev/null +++ b/OMAC/data/varia/schoenberg_arrangement.ttl @@ -0,0 +1,54 @@ +@prefix ow:. +@prefix od:. +@prefix viaf: . +@prefix dbp: . +@prefix dbr: . +@prefix xsd: . +@prefix dcterms: . +@prefix rdf: . + +viaf:176303863 + dcterms:title "Piano Quartet Op. 25"^^xsd:string; + ow:composed_by viaf:7573295; + dbp:composed "1856–1861"; + ow:scored_for od:176303863_pf_viola, od:176303863_pf_violin, od:176303863_pf_cello, od:176303863_pf_piano. + +od:176303863_pf_viola + rdf:type ow:PerformingForceAttribute; + ow:performing_force_type dbr:Viola; + ow:number_performing_force "1". + +od:176303863_pf_violin + rdf:type ow:PerformingForceAttribute; + ow:performing_force_type dbr:Violin; + ow:number_performing_force "1". + +od:176303863_pf_cello + rdf:type ow:PerformingForceAttribute; + ow:performing_force_type dbr:Cello; + ow:number_performing_force "1". + +od:176303863_pf_piano + rdf:type ow:PerformingForceAttribute; + ow:performing_force_type dbr:Piano; + ow:number_performing_force "1". + + +od:PQ_Op_25_arrangement + dcterms:title "Arrangement of Piano Quartet Op. 25"^^xsd:string; + ow:arrangement_of viaf:176303863; + ow:composed_by viaf:7573295; + ow:arranged_by viaf:12492826; + ow:arrangement_year "1937"^^xsd:gYear; + ow:scored_for od:PQ_Op_25_arrangement_pf. + +od:PQ_Op_25_arrangement_pf + rdf:type ow:PerformingForceAttribute; + ow:performing_force_type od:Orchestra. + + +viaf:7573295 + dbp:name "Johannes Brahms"^^xsd:string. + +viaf:12492826 + dbp:name "Arnold Schoenberg"^^xsd:string. diff --git a/OMAC/data/varia/schoenberg_arrangement_RDFgraph.png b/OMAC/data/varia/schoenberg_arrangement_RDFgraph.png new file mode 100644 index 0000000..085f97d Binary files /dev/null and b/OMAC/data/varia/schoenberg_arrangement_RDFgraph.png differ diff --git a/OMAC/omac_claim.owl b/OMAC/omac_claim.owl new file mode 100644 index 0000000..a3e3972 --- /dev/null +++ b/OMAC/omac_claim.owl @@ -0,0 +1,1466 @@ + + + + + Emilio M. Sanfilippo, Laboratory for Applied Ontology, ISTC-CNR +Richard Freedman, Haverford College, USA + Scholarly claims about musical entities + Data present in this file are meant for testing purposes only and will be removed in the final version of the ontology + under development + + + + + + + + + + + + + + + + analyzed by + analyzed by + + + + + + + + analyzes + analyzes + + + + + + + + relation for testing purposes wrt AuthorshipClaim + TESTING + + + + + + + + + + Included in OMAC claim module + Used for improving automated reasoning +(inverse of has_derivative) + derivative in + derivative in + + + + + + + + + + + Included in OMAC claim module + Relation used to model a work that derivates from another work + derivative of + derivative of + + + + + + + + + + + + + + + + + + + Included in OMAC claim module + has analytic segment + + + + + + + + + + + Included in OMAC claim module + has derivative + has derivative + + + + + + + + + + + + Included in OMAC claim module + has model + has model + + + + + + + + + + + + + + + + Included in OMAC claim module + has schema + + + + + + + + + + + + + + Included in OMAC claim module + Relation used to represent a musical work that is used as model for the composition of another musical work (by the same or different composer) + model for + + + + + + + + + Included in OMAC claim module + Used for improving automated reasoning +(inverse of has_model) + model in + + + + + + + + + + + + + + + Included in OMAC claim module + refers to + + + + + + + + + + Included in OMAC claim module + related to + + + + + + + + + + + + + + + + + + analytic segment of + + + + + + + + + + + Included in OMAC claim module + stated by + + + + + + + + + + Included in OMAC claim module + states + + + + + + + + + + + + + + Included in OMAC claim module + https://sites.google.com/haverford.edu/crim-project/vocabularies + amplified + + + + + + + + + consider to split this with OR + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + Included in OMAC claim module + double or invertible counterpoint + + + + + + + + TO-DO: check acronym with CRIM developers + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + embellished + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + exact + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + flexed + + + + + + + + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + Included in OMAC claim module + flexed tonal + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + inverted + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + invertible + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + melodic interval of entry + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + melodically inverted + + + + + + + + + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + Included in OMAC claim module + metrically shifted + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + monnayage + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + new combination + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + new counter subject + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + old counter subject shifted metrically + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + old counter subject transposed + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + periodic + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + reduced + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + remarks + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + retrograde + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + sequential + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + sounding in different voice(s) + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + strict + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + time interval of entry + + + + + + + + + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + Included in OMAC claim module + transposed + + + + + + + + + Included in OMAC claim module + CRIM Vocabularies: +https://sites.google.com/haverford.edu/crim-project/vocabularies + truncated + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + An analytic segment is a pattern of a musical work or musical work part identified by an analyst. It is not therefore an authorial part of a musical work + Analytic Segment + Analytic Segment + + + + + + + + + This class can be used to represent a claim about authorship, e.g., to claim that a certain person is meant (by a scholar) to be the composer of a musical work + Authorship Claim + TESTING + Authorship Claim + + + + + + + + + + + + + + + + + + + + + + + + + + + + + A claim is a scholarly observation (statement) of a musical phenomenon according to which the latter is characterised by a scholar in terms of various properties + Included in OMAC claim module + The list of claims hereby included is not exhaustive + Claim + + + + + + + + + + + + + + + + + + This axioms provides a first characterization of the Claim class; it needs to be refined according to more precise application requirements + + + + + + + + + Mechanical Transformation Claim + + + + + + + + + New Material Claim + + + + + + + + + Non-Mechanical Transformation Claim + + + + + + + + + Omission Claim + + + + + + + + + Quotation Claim + + + + + + + + + Quotation Exact Claim + + + + + + + + + Quotation Monnayage Claim + + + + + + + + + + + + + + + + + + + + + Schema Attribute + Schema Attribute + + + + + + + + + Schema Value + Schema Value + + + + + + + + + Self Enchainment Claim + + + + + + + + + Selfrelationship Claim + + + + + + + + + Self Repetition Claim + + + + + + + + + Self Return Claim + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1 + + + + + + + + + + + + + + 1 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + In sense of the terminology specific to the CRIM project, a claim of similarity between musical entities. All object- and data-properties used to characterize this class are imported from the CRIM's vocabulary + https://sites.google.com/haverford.edu/crim-project/vocabularies/relationship-types + Similarity Claim + Similarity Claim + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + In sense of the terminology specific to the CRIM project, a claim about the structure of an analytic segment (e.g., the segment is a fuga with certain characteristics). All object- and data-properties used to characterize this class are imported from the CRIM's vocabulary + Structure Claim + Structure Claim + + + + + + + + + Transformation Claim + + + + + + + + + + + + + + + + + + + + + + + + + + + + Missa tota pulchra es + http://viaf.org/viaf/ + Missa tota pulchra es + + + + + + + + de Sermisy + Claudin + Claudin de Sermisy + http://viaf.org/viaf/ + Claudin de Sermisy + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Cadences schema + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Cantus Firmus schema + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Contrapuntal Duo schema + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Counter-subject schema + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Fuga schema + Fuga + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Homorhythm Dialogue schema + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Homorhythm Fauxbourdon schema + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Homorhythm Sequential schema + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Homorhythm Staggered schema + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Homorhythm schema + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Imitative Duos schema + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Interval Patterns schema + + + + + + + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Non-Imitative Duos schema + + + + + + + + + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Periodic Entries schema + + + + + + + + + https://sites.google.com/haverford.edu/crim-project/vocabularies/musical-types + Soggetto schema + + + + + + + + + + + + example of authorship claim + + + + + + + + + + + false + false + 4- + false + false + false + false + B2 + data source: https://crimproject.org/observations/2/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Ian Lorenz + + + + + + + + + + Tota pulchra es + + + + + + + + + + + + false + false + 4- + false + Markes up a longer ID + false + false + false + B2 + Claim by Ian Lorenz about analytic pattern in Claudin de Sermisy' Tota pulchra es + data source: https://crimproject.org/observations/1/ + + + + + + + + + + + + http://crimproject.org/relationships/1/ + true + data source: https://crimproject.org/relationships/1/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/OMAC/omac_work.owl b/OMAC/omac_work.owl new file mode 100644 index 0000000..19cfb7b --- /dev/null +++ b/OMAC/omac_work.owl @@ -0,0 +1,2076 @@ + + + + Emilio M. Sanfilippo, Laboratory for Applied Ontology, ISTC-CNR, Italy +Richard Freedman, Haverford College, USA + Music and Musicology + Most of the instances in this file are for testing purposes only + under development + + + + + + + + + + + + + http://purl.org/dc/terms/ + + + + + + + + http://purl.org/dc/terms/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Common xsd:date format is: YYYY-MM-DD (e.g., 2001-10-26) + + + + + + + + + + + + + + + + + + + + + Included in OMAC work module + http://dbpedia.org/property + birth place + birth place + + + + + + + + + + + + Included in OMAC work module + https://dbpedia.org/property + composer of + The relation is used to bind a person to the musical entity that s/he has composed + composer of + + + + + + + + + + Included in OMAC work module + http://dbpedia.org/property + death place + death place + + + + + + + + + + + + + + + + + + Included in OMAC work module + http://dbpedia.org/property + has genre + has genre + + + + + + + + + + + + + + + + + + Included in OMAC work module + This relation, similarly to others, can be also used as a shortcut. + +The complete pattern would be, e.g.: +:musical_work# :has_key :key#. +:key# has_value :g_minor. + +In terms of the shortcut, we simply write: +:musical_work# :has_key :g_minor. + http://dbpedia.org/property + has key + key + has key + + + + + + + + + + + + Included in OMAC work module + arranged + TESTING + The relation is used to link a person the arranged musical entity + arranged + + + + + + + + + + + Included in OMAC work module + The relation is used for testing purposes + The relation is used to link a musical entity to the person who arranged it + arranged by + TESTING + arranged by + + + + + + + + + + + Arnold Schonenberg's arrangement of Brahms' Piano Quartet Op. 25 + Included in OMAC work module + The relation is used for testing purposes + arrangement of + TESTING + The relation is used to link an arrangement to the musical work from which it derives + arrangement of + + + + + + + + + Included in OMAC Work module + attribute of + + + + + + + + + + + + The first movement of Beethoven's Symp. No. 9 is authorial part of the Symp. No. 9 + Included in OMAC work module + authorial part of + The relation is used to represent the structure of musical entities, e.g., a symphony composed of movements and sections. + authorial part of + + + + + + + + + + + + + + + + + + + Symphony No. 9 was composed by Ludwig van Beethoven + Included in OMAC work module + composed by + The relation is used to bind a musical entity to the person who composed it + composed by + + + + + + + + + According to music experts involved in our research activities, the arrangement w1 of a musical work w2 has-composer w2's composer. For instance, the arrangement of Piano Quartet Op. 25 by Arnold Schoenberg has-composer Johannes Brahms + + + + + + + + + + Included in OMAC work module + has arrangement + TESTING + The relation is used to link a musical entity to its arrangement + has arrangement + + + + + + + + + + + + + + + + + + + + + + + + + Included in OMAC Work module + has attribute + + + + + + + + + + + + + The use of logical disjunction (OR) is used to allow a sort of modeling shortcut. For instance, saying that a work has-genre Credo, means that the work's genre-attribute has-value Credo. + + + + + + + + + + + Beethoven's Symp. No. 9 has authorial part the first, second, third, four movements + Included in OMAC work module + The relation is used to represent the structure of musical entities, e.g., a symphony composed of movements and sections. + has authorial part + has authorial part + + + + + + + + + + has part + has part + + + + + + + + + + Included in OMAC work module + This relationship is used to model a musical work that is (authorial) section of another musical work. Sections could be further decomposed into sub-sections (see the relation: has subsection) + has section + has section + + + + + + + + + + + + + + + + + + Included in OMAC work module + has style + has style + + + + + + + + + + + + + + Included in OMAC work module + Subsections are the smallest parts of musical works which can not be further decomposed in authorial musical entities + has subsection + has subsection + + + + + + + + + + Included in OMAC work module + has value + has value + + + + + + + + + + part of + part of + + + + + + + + + + Included in OMAC work module + performing force type + performing force type + + + + + + + + + + + + + + + + + + + Included in OMAC work module + scored for + The relation is used to link a musical entity to its performing force attribute + scored for + + + + + + + + + + + + + This range restriction is expressed using the disjunction between Performing Force and Performing Force Type in such a way to allow the shortcut: Musical Entity scored-of Performing Force Type, a possibility to be adopted when the number of performing force for a certain type is equal to 1. For instance, Brahm's Op. 25 scored-for Piano etc (i.e., for 1 piano) + + + + + + + + + + + Included in OMAC work module + scoring of + The relation is used to link a musical entity to its performing forces + scoring of + + + + + + + + + + Included in OMAC work module + section of + section of + + + + + + + + + + Included in OMAC work module + subsection of + subsection of + + + + + + + + + + + + + + Included in OMAC work module + http://dbpedia.org/property + birth date + birth date + + + + + + + + + Included in OMAC work module + http://dbpedia.org/property + birth year + birth year + + + + + + + + + Included in OMAC work module + http://dbpedia.org/property/ + composed + composed + composition date + + + + + + + + + Included in OMAC work module + http://dbpedia.org/ontology/ + death date + death date + + + + + + + + + Included in OMAC work module + http://dbpedia.org/property + death year + death year + + + + + + + + + Included in OMAC work module + http://dbpedia.org/property/ + familyname + familyname + + + + + + + + + Included in OMAC work module + http://dbpedia.org/property/ + firstname + firstname + + + + + + + + + Included in OMAC work module + This relation is used to represent a person's entire name (e.g., Ludwig van Beethoven) + http://dbpedia.org/property/ + name + name + + + + + + + + Included in OMAC work module + http://dbpedia.org/ + URL + URL + + + + + + + + Included in OMAC work module + https://www.dublincore.org/specifications/dublin-core/dcmi-terms/ + title + title + + + + + + + + + Included in OMAC work module + CRIM identifier + Identifier specific within the scope of the CRIM project + CRIM identifier + + + + + + + + + Included in OMAC work module + arrangement date + TESTING + arrangement date + + + + + + + + + Included in OMAC work module + number of performing force + This relation is used to represent the number of performing forces per type. For example, Mozart's Symphony No. 35 has 2 Oboes + numer of performing forces + + + + + + + + + Included in OMAC work module + authorial part order + order + The relation is used to represent the order of an authorial part (i.e., section or subsection) in a musical work. For example, a section of genre Kyrie is the first part of masses + authorial part order + + + + + + + + + Included in the OMAC Work module + has number of sections + Total number of sections in a musical work + has number of sections + + + + + + + + + Included in OMAC work module + has number of subsections + Total number of subsections in a section or musical work + has number of subsections + + + + + + + + + + + + + Included in OMAC work module + Person + Person + + + + + + + + Included in OMAC work module + http://dbpedia.org/ontology/ + Place + Place + + + + + + + + + + + + + + + + + + + Included in OMAC work module + Arranger + TESTING + Arranger + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Included in OMAC work module + The class Attribute is included for the sake of coherence wrt the representation of Attribute Values. For simplifying the representation of data, however, one could also use modeling shortcuts. For instance: + +- work#1 :has_genre :genre#1. +- :genre#1 :has_value :Mass. + +This means that work#1 has genre (of type) Mass, i.e., is a Mass. + +One can however prefer the shortcut: +- work#1 :has_genre :Mass. + The list of attributes is not exhaustive + Attribute + Attribute + + + + + + + + Included in OMAC work module + Attribute Value + Attribute Value + + + + + + + + + + + + + + + + + + + + + + + + + + A person who composes an authorial musical work + Composer + Composer + + + + + + + + + + + + + + + + + + + + + + + This axiom is formulated in terms of MusicalWork and MusicalWorkPart because the MusicalEntity class is extended in the Analytic Claim Module of the ontology. Hence the axiom makes sense that a composer is someone who composes either one or the other entity + + + + + + + + + + + + + + + + + + + + + Included in OMAC work module + Genre + Genre Attribute + Genre + + + + + + + + + Included in OMAC work module + Genre Value + Genre Value + + + + + + + + + + + + + + + + + + + + + Included in OMAC work module + Key + Key Attribute + Key + + + + + + + + + Included in OMAC work module + Key Value + Key Value + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Included in OMAC work module + Musical Entity is a general class subsuming more specific ones. It is not meant to be directly instantiated; instantiating musical entities means to instantiate its subclasses. It is not declared to be equivalent to its subclasses because we leave it open the possibility to specialize further the taxonomy of musical entities. + When we talk of a musical entity in the context of the OMAC ontology, we mean an entity that is neither coincident with a specific score or performance. An example would be the chanson "Je suis déshéritee" by Pierre Cadéac whose score can be found in different digital or printed editions. From a research perspective, there is a hot debate on how to conceive musical entities as such. OMAC's proposal is to consider them as scholarly interpretations of scores. For more information, see: Emilio Sanfilippo and Richard Freedman (2022), "Ontology for Analytic Claims in Music", Proc. of the 2nd Int. Workshop on Semantic Web and Ontology Design for Cultural Heritage (to appear) + Musical Entity + Musical Entity + + + + + + + + + + + + + + + + + + The logical disjunction (OR) between Attribute and AttributeValue is used to enable the use of shortcuts. For instance, work has-genre Mass (value), means that work has-attribute genre-attribute, and genre-attribute has-value Mass. + + + + + + + + + + + + + + + + + + + + + + + + + + + + Each movement of Beethoven's Symphony No. 9 + The Kyrie section of the Missa je suis déshéritée by Jean Guyon + Included in OMAC work module + Section + movement + Section + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + The Christe as subsection of the Kyrie (section) of the Missa je suis déshéritée by Jean Guyon + Included in OMAC work module + Subsections are the smallest parts of musical works which can not be further decomposed in authorial musical entities + Subsection + Subsection + + + + + + + + + + + + + + + + Experts tend to refer to a whole entity (i.e., an entity with possibly multiple authorial parts) with the expression 'musical work'. This is the reason why we distinguish between Musical Work Part and Musical Work + Included in OMAC work module + Musical Work + Musical Work + + + + + + + + + + + + + + + + + + + + + Included in OMAC work module + The notion of Musical Work Part is based on the authorial division of a musical composition in different parts as given by composers and identified in scores through, e.g., formal divisions. + Musical Work Part + Musical Work Part + + + + + + + + + + + + + + + + + + + + + + + + 1 + + + + + + + 1 + + + + Included in OMAC work module + Performing Force + Performing Force Attribute + Performing Force + + + + + + + + Included in OMAC work module + Performing Force Type + Performing Force Type + + + + + + + + + + + + + + + + + + + + + Included in OMAC work module + Style + Style Attribute + Style + + + + + + + + + Included in OMAC work module + Style Value + Style Value + + + + + + + + + + + + + + Baroque music (UK: /bəˈrɒk/ or US: /bəˈroʊk/) is a period or style of Western classical music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era, with the galant style marking the transition between Baroque and Classical eras. The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "classical music" canon, and is now widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl". Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Fr + http://dbpedia.org/resource/ + Baroque music style + + + + + + + + + http://dbpedia.org/resource/ + + + + + + + + + Chamber music is a form of classical music that is composed for a small group of instruments—traditionally a group that could fit in a palace chamber or a large room. Most broadly, it includes any art music that is performed by a small number of performers, with one performer to a part (in contrast to orchestral music, in which each string part is played by a number of performers). However, by convention, it usually does not include solo instrument performances. + http://dbpedia.org/resource/ + Chamber music genre + + + + + + + + + In Christian liturgy, the credo (Latin: [ˈkɾeːdoː]; Latin for "I believe") is the Nicene-Constantinopolitan Creed – or its shorter and nowadays more used version, the Apostles' Creed – in the Mass, either as a prayer, a spoken text, or sung as Gregorian chant or other musical settings of the Mass. + http://dbpedia.org/resource/ + Credo genre + + + + + + + + http://dbpedia.org/resource/ + + + + + + + + + http://dbpedia.org/resource/ + + + + + + + + + G minor is a minor scale based on G, consisting of the pitches G, A, B♭, C, D, E♭, and F. Its key signature has two flats. Its relative major is B-flat major and its parallel major is G major. The G natural minor scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary (source DBPedia) + http://dbpedia.org/resource/ + G minor + + + + + + + + + http://dbpedia.org/resource/ + Gloria genre + + + + + + + + + A hymn is a type of song, usually religious, specifically written for the purpose of adoration or prayer, and typically addressed to a deity or deities, or to a prominent figure or personification. The word hymn derives from Greek ὕμνος (hymnos), which means "a song of praise". A writer of hymns is known as a hymnist. The singing or composition of hymns is called hymnody. Collections of hymns are known as hymnals or hymn books. Hymns may or may not include instrumental accompaniment. + http://dbpedia.org/resource/Hymn + Hymn genre + + + + + + + + + Kyrie, a transliteration of Greek Κύριε, vocative case of Κύριος (Kyrios), is a common name of an important prayer of Christian liturgy, also called the Kyrie eleison (/ˈkɪəri.eɪ ɪˈleɪ.ɪsɒn, -sən/ KEER-ee-ay il-AY-iss-on, -⁠ən; Ancient Greek: Κύριε, ἐλέησον, romanized: Kýrie eléēson, lit. 'Lord, have mercy'). + http://dbpedia.org/resource/ + Kyrie genre + + + + + + + + + http://dbpedia.org/resource/ + Lied genre + + + + + + + + + A madrigal is a secular vocal music composition of the Renaissance (15th–16th c.) and early Baroque (1600–1750) eras. The polyphonic madrigal is unaccompanied, and the number of voices varies from two to eight, but usually features three to six voices, whilst the metre of the madrigal varies between two or three tercets, followed by one or two couplets. Unlike the verse-repeating strophic forms sung to the same music, most madrigals are through-composed, featuring different music for each stanza of lyrics, whereby the composer expresses the emotions contained in each line and in single words of the poem being sung. + http://dbpedia.org/resource/ + Madrigal genre + + + + + + + + + Medieval music encompasses the sacred and secular music of the Western Europe during the Middle Ages, from approximately the 6th to 15th centuries. It is the first and longest era of Western classical music and followed by the Renaissance music; the two eras comprise what musicologists term as early music, preceding the common practice period. Following the traditional divisions of the Middle Ages, medieval music can be divided into , , and medieval music. + http://dbpedia.org/resource/ + Medieval music style + + + + + + + + + In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from the high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond. The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts". + http://dbpedia.org/resource/Motet + Motet genre + + + + + + + + + http://dbpedia.org/resource/ + + + + + + + + + http://dbpedia.org/resource/ + + + + + + + + + http://dbpedia.org/resource/ + + + + + + + + + Plainsong (calque from the French « plain-chant »; hence also plainchant; Latin: cantus planus) is a body of chants used in the liturgies of the Western Church. When referring to the term plainsong, it is those sacred pieces that are composed in Latin text. Plainsong was the exclusive form of Christian church music until the ninth century, and the introduction of polyphony The monophonic chants of plainsong have a non-metric rhythm. Their rhythms are generally freer than the metered rhythm of later Western music, and they are sung without musical accompaniment. + http://dbpedia.org/resource/Plainsong + Plainsong genre + Plainchant + + + + + + + + + Renaissance music is vocal and instrumental music written and performed in Europe during the Renaissance era. Consensus among music historians has been to start the era around 1400, with the end of the medieval era, and to close it around 1600, with the beginning of the Baroque period, therefore commencing the musical Renaissance about a hundred years after the beginning of the Renaissance as it is understood in other disciplines. + http://dbpedia.org/resource/ + Renaissance music style + + + + + + + + + The Sanctus (Latin: Sanctus, "Holy") is a hymn in Christian liturgy. It may also be called the epinikios hymnos (Greek: ἐπινίκιος ὕμνος, "Hymn of Victory") when referring to the Greek rendition. In Western Christianity, the Sanctus forms part of the Ordinary and is sung (or said) as the final words of the Preface of the Eucharistic Prayer of remembrance, consecration, and praise. The preface, which alters according to the season, usually concludes with words describing the praise of the worshippers joining with the angels, who are pictured as praising God with the words of the Sanctus.In the Byzantine Rite and general Eastern Orthodox Christianity, the Sanctus is offered as a response by the choir during the Holy Anaphora. + http://dbpedia.org/resource/ + Sanctus genre + + + + + + + + + A symphony is an extended musical composition in Western classical music, written by composers, most often for orchestra. Although the term has had many meanings from its origins in the ancient Greek era, by the late 18th century the word had taken on the meaning common today: a work usually consisting of multiple distinct sections or movements, often four, with the first movement in sonata form. Symphonies are almost always scored for an orchestra consisting of a string section (violin, viola, cello, and double bass), brass, woodwind, and percussion instruments which altogether number about 30 to 100 musicians. Symphonies are notated in a musical score, which contains all the instrument parts. Orchestral musicians play from parts which contain just the notated music for their own instrument. Some symphonies also contain vocal parts (e.g., Beethoven's Ninth Symphony). (en) + http://dbpedia.org/resource/ + Symphony genre + + + + + + + + + The villancico (Spanish, pronounced [biʎanˈθiko]) or vilancete (Portuguese, pronounced [vi.lɐ̃ˈse.t(ɨ)]) was a common poetic and musical form of the Iberian Peninsula and Latin America popular from the late 15th to 18th centuries. With the decline in popularity of the villancicos in the 20th century, the term became reduced to mean merely "Christmas carol". Important composers of villancicos were Juan del Encina, Pedro de Escobar, Francisco Guerrero, Manuel de Zumaya, Juana Inés de la Cruz, Gaspar Fernandes, and Juan Gutiérrez de Padilla. + http://dbpedia.org/resource/ + Villancico genre + + + + + + + + + http://dbpedia.org/resource/ + + + + + + + + + http://dbpedia.org/resource/ + + + + + + + + + Agnus Dei is the Latin name under which the "Lamb of God" is honoured within the Roman Catholic Mass and, by extension, other Christian liturgies descending from the Latin tradition. It is the name given to a specific prayer that occurs in these liturgies, and is the name given to the music pieces that accompany the text of this prayer. The use of the title "Lamb of God" in liturgy is based on John 1:29, in which St. John the Baptist, upon seeing Jesus, proclaims "Behold, the Lamb of God, who takes away the sin of the world!" + http://dbpedia.org/resource/ + Agnus dei genre + + + + + + + + + The Mass (Latin: missa), a form of sacred musical composition, is a choral composition that sets the invariable portions of the Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion, and Lutheranism) to music. Musical Masses take their name from the Catholic liturgy called "the Mass". Masses can be a cappella, that is, without an independent accompaniment, or they can be accompanied by instrumental obbligatos up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass. + http://dbpedia.org/resource/ + Mass genre + + + + + + + + + In music, a chorale cantata is a sacred composition for voices and instruments, principally from the German Baroque era, in which the organizing principle is the words and music to a chorale. Usually a chorale cantata is in multiple movements or parts. Most chorale cantatas were written between approximately 1650 and 1750. By far the most famous are by J. S. Bach, especially the cantatas composed in his second annual cycle of cantatas, started in Leipzig in 1724. + http://fr.dbpedia.org/resource/ + Cantate chorale genre + + + + + + + + 1874-09-13 + 1951-07-13 + Schoenberg + Arnold + Arnold Schoenberg + http://viaf.org/ + Arnold Schoenberg + + + + + + + + + http://viaf.org/ + Salzburg + Salzburg + + + + + + + + + http://viaf.org/ + Hamburg + + + + + + + + + http://viaf.org/ + Vienna + + + + + + + + + + + + + + + + + 1856–1861 + Piano Quartet Op.25 + 4 + http://viaf.org/ + Piano Quartet Op. 25 + + + + + + + + + + + 1556 + Missa Confitemini + http://viaf.org/ + Missa confitemini by Pierre Colin + + + + + + + + Colin + Pierre + Pierre Colin + http://viaf.org/ + Pierre Colin + + + + + + + + + + + + + 1782 + Symphony No. 35 + the representation of performing forces is not complete; it is only partially represented for the sake of the example + http://viaf.org/ + Symphony No. 35 + + + + + + + + + + + + + + + + 1568 + http://crimproject.org/masses/CRIM_Mass_0003/ + Missa o gente brunette + CRIM_Mass_0003 + http://viaf.org + Missa o gente brunette by Nicolas de Marle + + + + + + + + + + 1756-01-27 + 1791-12-05 + Mozart + Wolfgang Amadeus + Wolfgang Amadeus Mozart + http://viaf.org/ + Wolfgang Amadeus Mozart + + + + + + + + de Marle + Nicolas + Nicolas de Marle + http://viaf.org/ + Nicolas de Marle + + + + + + + + + + + 1833-05-07 + 1897-04-03 + Brahms + Johannes + Johannes Brahms + http://viaf.org/ + Johannes Brahms + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Kyrie of Missa o gente brunette + + + + + + + + + + + + + + + + + + + + + + + + + 1 + First movement of Johannes Brahms' Piano Quartet Op. 25 + Piano Quartet Op. 25, movement 1 + + + + + + + + + 2 + Piano Quartet Op. 25, movement 2 + + + + + + + + + 3 + Piano Quartet Op. 25, movement 3 + + + + + + + + + 4 + Piano Quartet Op. 25, movement 4 + + + + + + + + + + + + + + + + + + + Piano Quartet Op. 25 arranged by Arnold Schonenberg + 1937 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Sanctus subsection of: Missa o Gente Brunette + + + + + + + + + + 2 + + + + + + + + + + 2 + + + + + + + + + Chanson genre + + + + + + + + + Magnificat genre + + + + + + + + + + 1 + + + + + + + + + + 1 + + + + + + + + + + 1 + + + + + + + + + + 1 + + + + + + + + + + 1 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + diff --git a/OMAC/readme.md b/OMAC/readme.md new file mode 100644 index 0000000..52cb684 --- /dev/null +++ b/OMAC/readme.md @@ -0,0 +1,7 @@ +# OMAC ontology +The repository contains an OWL ontology, called OMAC - Ontology for Analytic Claims in Music, for musical critical assessments. + +Current research work aims at improving and testing OMAC against domain experts' knowledge and case studies. The data included in the owl files of the ontologies are meant for testing purposes only. You can browse the Data folder on this repository for some examples. + +For information, please write to: +Emilio Sanfilippo, emilio.sanfilippo@cnr.it