What S. Lundberg is describing:
>
> In my view, to describe such things one need to create a surrogate for the
> "real" thing (which usually doesn't exist on the web) and then express
> the relation between the object at hand and that "real" thing.
>
is dealt with at length and breadth by the IFLA "Functional
Requirements" study.
http://www.ifla.org/VII/s13/frbr/frbr.htm
There is usually an abstract entity called a "work", and there are
numerous exemplifications, concrete embodiments (manifestations) of it
in various formats. In the case of music, but not just there, we
encounter the difficulty of title variations. The "work" certainly
had a title when it was published for the first time, but very often
the titles on manifestations are different. Also, the names of
persons involved, vary a lot (Think of Tchaikovsky: there are over
30 different forms).
One way to deal with this situation is a special form of authority
control, the "uniform title" concept. Using some rules, one
establishes one definite form of the work's title, and with every
manifestation, this title as well as the one actually appearing
with the piece is laid down in the metadata. In the case of music,
there are also the Opus numbers, fulfilling much the same functions in
many cases (BWV 1049 in the case cited.)
For what music catalog users want is this, and this is now the
really important point: they want all expressions/manifestations of
one particular work, regardless of the actual titles. No amount of
artificial intelligence could collocate them all together, unless
there is the uniform title or an equivalent. The catalog user in most
cases knows something from which the uniform title can be inferred,
or they know the opus number. That must be sufficient to find all
instances, regardless of their actual titles (which nobody can be
expected to know).
So, I'm afraid to say, S. Lundbergs metadata example below, while
presumably accurately tagged, is largely useless since it gives
neither uniform title nor opus number nor does it cite the composer's
name in any controlled form. Everything that really matters for a
music database user is not as they expect it and need it.
Regards, B.E.
>
>
> <?xml version="1.0"?>
> <rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"
> xmlns:wn="http://xmlns.com/wordnet/1.6/"
> xmlns:dc="http://purl.org/dc/elements/1.1/"
> xmlns:dcq="http://dublincore.org/2000/03/13-dcq" >
>
> <rdf:Description ID="4th_brandenburger_concerto">
> <dc:creator>
> <wn:Composer><rdf:value>J.S. Bach</rdf:value></wn:Composer>
> </dc:creator>
> <dc:title>The 4th Brandenburger Concerto</dc:title>
> <dc:type>musical score</dc:type>
> <dcq:HasFormat rdf:resource="http://somehost/sigges_recording.mp3" />
> </rdf:Description>
>
> <rdf:Description about="http://somehost/sigges_recording.mp3">
> <dc:creator>
> <wn:Conductor><rdf:value>Lundberg, Sigfrid</rdf:value></wn:Conductor>
> </dc:creator>
> <dc:creator><wn:Orchestra>
> <rdf:value>Sigge's chamber orchestra</rdf:value>
> </wn:Orchestra></dc:creator>
> <dc:title>The 4th Brandenburger Concerto</dc:title>
> <dc:type>electronic resource</dc:type>
> <dcq:IsFormatOf rdf:resource="#4th_brandenburger_concerto" />
> </rdf:Description>
>
> </rdf:RDF>
>
Bernhard Eversberg
Universitaetsbibliothek, Postf. 3329,
D-38023 Braunschweig, Germany
Tel. +49 531 391-5026 , -5011 , FAX -5836
e-mail [log in to unmask]
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