1,721,026 research outputs found
Corago in LOD. The debut of an Opera repository into the Linked Data arena
Full text linkThe paper examines the adoption of the Semantic Web (SW) technologies and Linked Data (LD) principles to manage a knowledge base about opera. The Corago repository collects historical data and documentation about opera works, performances and librettos from the 16th to the 20th century. We experimented the use of semantic technologies to manage the repository’s knowledge catalogued following the Functional Requirements for Bibliographic Records (FRBR) relational model. Cultural Heritage Knowledge Bases (CHKB) as Corago could leverage SW and LD to overcome proprietary models and to introduce new information to better satisfy user’s requirements. Two well-established reference ontologies as CIDOC Conceptual Reference Model (CIDOC CRM) and FRBR Object Oriented (FRBRoo) are adopted to transpose contents form the legacy conceptual model to RDF. Through the process, we observed that formal semantics allow, not only to adequately represent the opera domain, but also enable to define the way information is being presented to users. This led to the definition of “reception pathways” which become themselves part of the knowledge about opera within the KB. This novel semantic approach is introduced with the Corago Semantic Model (Corago SM), a domain ontology dedicated to functional representation of opera’s historical data. Advancements have been tested with an experimental system and assessed through a questionnaire submitted to a panel of users
RePIM in LOD: semantic technologies to manage, preserve, and disseminate knowledge about Italian secular music and lyric poetry from the 16th-17th centuries
Full text linkIl 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
E pluribus unum: a uniform DL Solution for historical data Management, archiving and exploitation of Opera
No full text“Osservate, leggete con me”. Risorse LOD per la storia del melodramma: una prospettiva funzionale di rappresentazione
No full textRePIM - Repertorio della Poesia Italiana in Musica. Interfaccia web per la consultazione.
No full textInterfaccia web per la consultazione dell'archivio digitale "RePIM - Repertorio della Poesia Italiana in Musica, 1500-1700".
La ricerca sulla produzione italiana di musica profana dei secoli XVI e XVII ha potuto contare sin dal 1892 sulla inestimabile Bibliothek der gedruckten weltlichen Vocalmusik Italiens, aus den Jahren 1500-1700 di Emil Vogel. Nel 1977 François Lesure e Claudio Sartori, avvalendosi anche degli appunti raccolti da Alfred Einstein, ne hanno pubblicato una nuova versione, denominata Il Nuovo Vogel, aggiornata e rinnovata nella descrizione bibliografica e con la rilevante aggiunta degli autori dei testi poetici identificati e dell’indice dei capoversi verbali.
La consanguineità di poesia e musica nel madrigale del Cinque-Seicento è illustrata in modo esemplare nella nota lettera dedicatoria del Sesto libro di madrigali a cinque voci di Luzzasco Luzzaschi del 1596, stilata di fatto da Alessandro Guarini, figlio di Battista: “Sono [...] la musica e la poesia tanto simili e di natura congiunte che ben può dirsi [...] ch’ambe nascessero ad un medesimo parto in Parnaso ... due gemelle nell’aria et nel sembiante ...”.
RePIM sostanzia questa unione indissolubile tra poesia e musica e presenta in un unico sistema informativo la produzione di musica profana dei secoli XVI e XVII unitamente alla descrizione bibliografica di tutte le fonti musicali (a stampa e manoscritte) e delle fonti poetiche consultate, le schede di descrizione analitica di tutte le composizioni musicali e dei corrispondenti componimenti poetici rintracciati nelle fonti letterarie.Research on the production of Italian secular music during the sixteenth and seventeenth centuries has drawn on Emil Vogel’s invaluable Bibliothek der gedruckten weltlichen Vocalmusik Italiens, aus den Jahren 1500-1700, published in 1892. In 1977 François Lesure and Claudio Sartori, who had access to notes made by Alfred Einstein, published a new version, called Il Nuovo Vogel; this version provided updated and revised bibliographical descriptions and included the names of the authors of poetic texts (where known) and an index of first lines.
The kinship between poetry and music in the madrigal of the sixteenth and seventeenth centuries is illustrated in the well-known dedicatory letter found in Luzzasco Luzzaschi’s Sesto libro di madrigali a cinque voci of 1596, written by Alessandro Guarini, Battista’s son: “Music and poetry are so similar and by their very nature conjoined that it may well be said ... that both were born at the same birth on Parnassus ... twins in expression (aria) and in appearance ...”.
RePIM honors this indissoluble union between poetry and music and presents in a single information system the secular music production of the sixteenth and seventeenth centuries. It provides bibliographic descriptions of all the musical sources (printed and manuscript) as well as all the poetic sources consulted. It also provides analytical descriptions of every musical composition and related poem that has been traced in literary sources
Il corago, o vero Alcune osservazioni per mettere bene in scena le composizioni drammatiche
No full text“Il Cannocchiale per la «Finta pazza» di Maiolino Bisaccioni” (edizione e commento)
No full textTesto un po' sui generis nel panorama della pubblicistica teatrale, ma ugualmente rivelatore della complessità poetica congenita alla natura multimediale del melodramma, lo scritto di Bisaccioni punta sull'aspetto visivo di uno dei primo drammi per musica veneziani. Concepito come complemento alla pubblicazione del libretto, assolve il compito di alimentare presso il pubblico l'interesse per lo spettacolo, descrivendo con dovizia di particolari i costumi di scena e el meraviglie operate dalle macchine teatrali. Considerata la sua singolarità, se ne dà la trascrizione integrale
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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