FROM MUSIC ONTOLOGY TOWARDS ETHNO-MUSIC-ONTOLOGY Polina Proutskova1 Anja Volk2 Peyman Heidarian3 György Fazekas1 1 Center for Digital Music, Queen Mary University of London, UK 2 Department of Information and Computing Sciences, Utrecht University, Netherlands 3 Department of Computer Science The University of Waikato, NZ
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[email protected] ABSTRACT sual knowledge about the entities and their relationships in an area, preferably expressed using a machine-processable This paper presents exploratory work investigating the formal language that supports some form of inference [12]. suitability of the Music Ontology [33] - the most widely This could be logic based, while more recently, ontologies used formal specification of the music domain - for mod- found their use in machine learning as a mechanism to help elling non-Western musical traditions. Four contrasting structuring training data, formalise constraints, or become case studies from a variety of musical cultures are anal- an integral part of the inference process [42]. ysed: Dutch folk song research, reconstructive perfor- The Music Ontology (MO) [32, 33] is among the most mance of rural Russian traditions, contemporary perfor- comprehensive ontologies for the music domain, with mance and composition of Persian classical music, and broad ranging applications [9, 38] from recommendation recreational use of a personal world music collection. We systems [49] to live performance [51], and numerous ex- propose semantic models describing the respective do- tensions covering music production [10, 11] and audio ef- mains and examine the applications of the Music Ontology fects [53, 54], audio features [1], music theoretical con- for these case studies: which concepts can be successfully cepts [34, 43, 46], smart instruments and more generic or reused, where they need adjustments, and which parts of other “Musical Things” [48].