RePIM in LOD: l'impiego delle tecnologie semantiche per gestire, conservare e diffondere la conoscenza della musica profana e della poesia lirica italiana dei secoli XVI-XVII
10.6092/issn.2532-8816/15568
Il progetto RePIM in LOD si propone 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. 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 (KB) 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.
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RePIM in LOD: semantic technologies to manage, preserve, and disseminate knowledge about Italian secular music and lyric poetry from the 16th-17th centuries
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RePIM in LOD: semantic technologies to manage, preserve, and disseminate knowledge about Italian secular music and lyric poetry from the 16th-17th centuries
https://umanisticadigitale.unibo.it/article/download/15568/15170
@ Umanistica Digitale - ISSN: 2532-8816 - n. 14, 2022
P. Bonora, A. Pompilio - RePIM in LOD: semantic technologies to manage, preserve, and
disseminate knowledge about ltalian secular music and lyric poetry {rom the 16th-17th centuries
DOI: http:/ /doi.org/10.6092/issn.2532-8816/15568



RePIM in LOD: semantic technologies to manage, preserve,
and disseminate knowledge about Italian secular music and
         lyric poetryfrom the 16th-17th centuries


                                             Paolo Bonora

        Dipartimento di Filologia Classica ed Italianistica, Università di Bologna, Bologna, Italia
                                      paolo.bonora@unibo.it



                                           Angelo Pompilio

                 Dipartimento di Beni Culturali, Università di Bologna, Bologna, Italia
                                    angelo.pompilio@unibo.it




       Abstract

The RePIM in LOD project aimed to publish the "Repertorio della Poesia Italiana in Musica,
1500-1700" (RePIM) as Linked Open Data (LOD) dacaset. For the extent and detail of its
contents, RePIM is a reference archive for research on Icalian secular music from che l 6th- l 7ch
cencuries. In recent years, scholars have been able to access it through a public web-based
application. Due to che obsolescence of its informacion cechnology platform, the RePIM
repository was setto be caken offline. To preserve this precious source, the project migraced ics
contents into a knowledge base adopcing semancic cechnologies and designing an up-to-dace end-
user application. The article illustrates che challenges of managing information about madrigal
cradition and che digitai knowledge preservation of bibliographic and philological information
in che fìeld ofltalian secular music and lyric poetry of che l 6ch- l 7th centuries.

Il 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


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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 fìlologiche nel campo della musica
profana italiana e della poesia lirica dei secoli XVI-XVII.



       Keywords

Linked Open Data -- Semantic Web -- CIDOC-CRM -- FRBRoo -- digitai knowledge
preservation -- madrigal



       lntroduction1

The "Repertorio della Poesia Italiana in Musica, 1500-1 700" (RePIM), is the digitai version of
the incipit index ofltalian poetry in music, a project conceived at the end of the 70s by Lorenzo
Bianconi in collaboration with Angelo Pompilio and Antonio Vassalli ([20]) . Since 1990,
materials collected on paper cards during the 70s-80s, and bibliographic descriptions of poetic
and musical sources, have been revised and widely integrated. As a mie, musical sources of secular
music do not declare authorship of the intoned literary text. To identify the poet, it is necessary
to coliate the musical sources with coeva! poetry books. The RePIM incipit index was designed
co respond to this basic scientifìc need: to identify the greatest possible number of authors of
poetic texts setto music in secular and spiritual compositions of che 16ch-l 7th centuries chrough
che systematic examination of poetry books. A minor subset of che archive was published online
in 2006 bue has never been fully published in any analogie or digitai form. Unfortunately, che
technological platform has become obsolete since then and now muse be discontinued. The
RePIM in LOD project identifìed che publication as a Linked Open Data (LOD) dataset to
preserve it as a free and unlimited resource for che community of present and future scholars.
Contents have been migrated in Resource Description Formar (RDF) adopting FRBR Object
Oriented (now Library Reference Model) and CIDOC Conceptual Reference Model as reference
ontologies. The resulc is a Knowledge Base (KB) relying on a set of open and well-established
formai ontologies and then fully interoperable within che Linked Data ecosystem. Finally, to
develop a newweb-based application, che ResearchSpace placform ([19]) has been selected as an
open-source, cultura! heritage-oriented, and scholar-friendly tool which also aims to address
digitai knowledge preservation and maintainabilicy over time.




   While both authors contributed to the research being illustrated here, P. Bonora is responsible for the
   Introduccion and section 2 and 3; A. Pompilio is responsible for seccion l; boch authors concributed
   to section 4.



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        1. The challenge of telling the tradition of madrigal texts

The production of secular music on Italian language lyrics occupies approximately half of the
entire musical production between che early 16th century and the fìrst three decades of che
following century. It is a vast repertoire with more than 53,000 compositions, preserved in about
3,500 printed books2 •

In a prince's court hall, an aristocratic family, or an academy, ladies, nobles, officials, poets, and
musicians would linger to listen to four, fìve, or six singers who gathered around a table, and
sang lyrical poems of a few lines, usually between four and fourteen: madrigals, canzonettas,
stanzas of canzoni, octaves, sonnets. The prince, che court entourage, che nobles, and academics
gathering in these private rooms are che promoters of this musical practice. The composers obtain
the texts directly from the hands of the poets or through intermediaries who frequent these
cenacles, from the many books of poems published in those years, or from other musical
compositions of the same genre that appeared in other music books, they intone them and
entrust their performance to cantori and dame cantatrici:' . In the musical intonation, the
composer arranges the poetic text very freely: iterating one or more words, inverting their
position, taking up and re-proposing entire portions of the text or modifying che dictation by
replacing individuai words or larger portions, sometimes deleting certain verses or adding new
ones. The poetic text printed under the notes may therefore be identica! to the originai dictation
bue may also differ signifìcantly.

After composing a certain number of them, roughly 20 to 30, the composer assembles these in a
collection homogeneous in terms of genre (madrigals or canzonettas) and the number of voices,
to be published. Identifying che poetic texts sung and comparing che versions of the texts found
in literary and musical sources can therefore provide valuable information on the circulation of
this poetic-musical production throughout the Italian peninsula (but also beyond che Alps) and
the textual tradition of che individuai texts.

In printed music editions, however, the name of the poet is usually not mentioned. The RePIM
project was conceived to resolve, even partially, this information gap and, fìrst and foremost, was
aimed to identify the literary authorship of as many ltalian-language poetic texts set to music
between 1500 and 1700 as possible, becoming an indispensable tool for research in this fìeld of
study widely used by scholars in recent years.

A bibliography of printed books of poetry was compiled, also extending to some manuscripts
and modem editions from the 18th century to the present, while for the books of music,


2   Fora generai incroduction to madrigal see the corresponding entry of the Grave Music O nline ([1 3]).
    Further readings may include [11], [12], [18], [22].

3   During 16th century, there was noc a sharp distinccion between professional and amateur singers.
    Mosc performers are ac che same time singers and audience ([11]).


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craditional bibliographic repertories were used 4 and the bibliographic records were verifìed on
che originals. For each music book, the complete description of the contents was verifìed and the
cextual incipit, extended to che fìrst two verses, was given for each piece. Based on the incipit of
che texts set to music, the poetry books bibliography was consu!ted to identify che authors of che
poetic texts. Data collected within che RePIM and their organization is a substantial innovation
to che traditional documentation approach being represented ciii now, for this repertoire, by che
Nuovo Vogefback in 1977 ([23]). More recently, some digitai repertories bave been published:
che Répertoire International des Sources Musicales (RISM), a rich collection of musical sources
including madrigals without an analytical description of che contained works; the Catalogne de
la Chanson Française à la Renaissance a catalogne dedicateci to a geme of secular vocal music, in
che French language; che Tasso in Musica Project a collection ofTorquato Tasso's works set in
music; the Printed Sacred Music Database a cacalogue, which is dose to RePIM in cerms of
details, but dedicateci to sacred music.

RePIM's data allow some preliminary analysis of the lyric poetry of che 16th and early 17th
century and ics coeva! musical intonations and then to grasp some phenomena regarding che
circulation of texts in literary and musical sources. The very fìrst consideration is quantitative.
Of che approximacely 53,000 texts in music, 20,700 have been identifìed, a lictle less chan 40% 5;
che remaining 32,000, which have not been attribuced, thus cescify to a numerically substantial
portion of lyric poems thac, although n ot published in poetry books, circulated in manuscripts,
now dispersed, providing the poetic sources used by musicians for their compositions. This
impressive production of lyric poetry is now only attested by music books.

T he occurrence of che same poems in musical and literary sources then offers valuable
information on the circulation of the texts, their genesis, stylistic features, and lexical peculiarities
which are functional to musical intonation. A cext in music contains on average 50-60 words,
distributed in slightly less or slightly more than 1O lines, usually septenaries and hendecasyllables.
When choosing texts to be sung, musicians not only draw on poems with these morphological
characteristics but also extend their interest to much larger texts, such as strophic compositions
(canzoni and sestinas) and epic and pastora! poems (such as L'Orlando furioso, La Gerusalemme
Liberata, L'Aminta, ILpastor fido).




4   Emi! Voge!, Bibliothek der gedruckten weltlichen Vocalmusik Italiens aus den j ahren 1500-1700,
    Hildesheim, G. O lm, 1962; Emil Voge! -Alfred Einstein - François Lesure - Claudio Sartori,
    Bibliografia della musica italiana vocale profana pubblicata dal 1500 al 1700, Pomezia, Staderini-
    Minkoff, 1977 (Il nuovo Vogeb; Knud Jeppesen, La Frottola, Aarhus, Universitetsforlaget; K0benhav,
    Einar Munksgaard, 1968-1970; Iain Fenlon - James Haar, The Italian Madrigal in the Early Sixteenth
    C'entury: Sources and Interpretation, Cambridge, Cambridge University Press 1988; RISM. Répertoire
    International des Sources Musicales (https:/ /opac.rism.info/).

5   More precise and in-depth research will undoubtedly allow identifying other texts in literary sources,
    bur it is highly unlikely to deviate signifìcandy from che achieved result.


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         P. Bonora, A. Pompilio - RePIM in LOD: semantic technologies to manage, preserve, and
    disseminate knowledge about Italian secular music and lyric poetry from the 16th-17th centuries


From these poems, musicians freely extract portions of the text, resulting in an autonomous
poem, with coherent content and dose to the standard length of 50-60 words, in 6-1 O verses.
For strophic texts, in some cases, the musician intones single stanzas, or porrions of stanzas, in
others the composer articulates the musical composition in parts, assigning to each part the text
of a stanza or a portion thereof.

The sonnet, a kind of text widely used in musical intonations, consists of about 120 words
distributed in 14 hendecasyllabic verses, is sometimes sung in full, more often articulated in two
parts, corresponding respectively to the rwo quatrains and the rwo triplets, about 70 words the
fìrst part, 50 the second ([2]).

From che epic poems composed in ottava rima, musicians extract single occaves or a succession
of octaves, musically articulaced in as many parts as the selected octaves.

In the case of the Pastorfido, a pastora! drama in five acts of septenary and hendecasyllabic verses,
each musician extracts only those verses he considers functional to the musical intonation and
employs them in single or multi-part compositions, as in the case of other texts of larger
dimension. In extracting and recomposing verses into a coherent literary text, we can see
interventions of poetic crafcsmanship involving che substitution of certain words, che
repositioning of others, and the addition and/or deletion of one or more verses. The RePIM's
collection of incipits allows us to trace this complex situation of textual tradition analytically and
considers ali the variants and textual articulations found in licerary and musical sources.

Typically, poecry cexcs set to music were identifìed in poetry books chac predate the
corresponding music book. This fìnding suggests chac composers usually drew che rexcs from che
poetry editions already available on the market. The same poetic text, however, may have received
more than one intonation, from rwo up to 63 in Ardo sì ma non t'amo by Battista Guarini. In
such cases, the source che musician relied on may have been either a literary edition or a musical
edition. In the absence of literary sources, we can speculare rhat che source of the text may have
been either one of the earlier musical edirions or, in the absence of such sources, a manuscripc
sheec on which che cext of che poem was written. The 32,000 works in che RePIM repertoire
with no reference to licerary sources testifying the existence of a rich production of poems chac
were perhaps, and at least partially, specifìcally written for musical intonation. Then this poetic-
musical practice was a strong stimulus for poets, who were urged to write texts with
morphological, lexical, and stylistic characteristics that were functional to musical intonation.

However, to carry out in-depth investigations into the repertoire of poetry in music from 1500
co 1700 and to scudy che dose relationship berween che texts in music and poecry books, che
complete texts ofboth kinds is required for an effective criticai comparison. The RePIM project,
originally conceived as an incipit index of music texts, has then broadened its information base
over the years. lt has been enriched by a wider survey of literary sources, not only in print but
also in manuscripc, and has recendy scarced transcribing complete texts from primary sources or
modem edicions of music and poecry books: co date, more than 20,000 complete texcs from
licerary and musical sources are available. But chis set, alchough amouncing co approximacely

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one-chird of the encire repertoire, is stili noc enough to effeccively carry out the research activities
envisaged.

Accessing licerary texcs of Icalian lyric poecry and editions of secular music from che l 6ch and
l 7ch centuries already available on the web coday could help document in a more complete,
richer, and more effective way the cultura! heritage witnessed by this musical and poetic practice.
An example could illustrate the po cenciai of an extended information system. In 1609,
Michelangelo Namermi, organist at the basilica of San Lorenzo Maggiore in Milan, published
his Primo libro di madrigali a 5 voci in Venice by Ricciardo Amadino.

A four-part madrigal appears in the collection, on a canzonetta cexc, four stanzas of fìve verses
each. The incipit of che fìrst stanza is Son io, donne, son io che rimirate. The poet is noc mentioned
nor is any information about the given poetic text. From a simple full-text search on Google
Books, it was possible to fìnd che text of che canzonetta in the volume Feste di Milano, an account
of che festivities held in Milan to celebrate the birth of Prince Filippo Domenico Vittorio,
compiled by Cesare Parona and published in Milan in 1607, with a dedication to Filippo III.
Within che description of the third day of festivities, che parade of che chariot of Venus is
described wich ali che decorations chac embellish it, mencion is made of che knights parading
alongside it and cheir attire, che sound of trumpets and the dancing that accompanies the parade
and precedes the sudden and marvelous appearance of C upid who, from the top of che theacrical
machine, intones the four stanzas of Son io, donne, son io che rimirate. The given full text (p. 98)
is identica! to that sung in Nantermi's four-voice madrigal, but no reference to che poet or author
of che music appears. The musical source indicates the author of the music and gives us che
musical content of che piece, the cexcual source gives us precise informacion abour che speccacular
context within which chat piece of music was perfo rmed. Having identifìed che link between che
sources, the partial information from each source concributes to reconstruccing che spectacular
event from a richer historical perspective and helps us in interpreting this musical composition.



        2. Shaping the knowledge: the evolution of the digitai container

Just as liquids tend to cake the form of a container, knowledge is nor immune to che shape of the
tool employed co collect, manage, and preserve ic. Since the early 90s, the index of incipics and
references co sources have been managed only in che digitai domain and a printed version has
never been published. The increase in contents and che inclusion of new entities were
accompanied by che evolution of the informacion system. Its concepcual model, initially designed
to manage che index of incipits, evolved to manage complete bibliographic records and detailed
descriptions of the contents of musical and poetic sources6 . Following the pach through different



6   Data models and their implememation are evaluated in terms of cheir effectiveness in serving user
    requiremems. As chey evolve, che model musc evolve too. When chey change in nature, as when che
    focus moves from che expressiveness of a "research-driven" approach to scandardizacion and


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         P. Bonora, A. Pompilio - RePIM in LOD: semantic technologies to manage, p reserve, and
    disseminate knowledge about Italian secular music and lyric poetry from the 16th-17th centuries


conceptual approaches and their technical implementation is mandatory to fully understand the
semantics of the conceptual model shaping data currently available in the repository.

        2.2 The origins: the first proprietary model

The fìrst model was designed to implement the basic requirement of taking track of the collation
between poetic and musical sources. The resulting model was split into two almost specular parts,
each describing a kind of source, that was connected through the relation identifìed by the index
of incipits and the authority file. The description of the poetic source was implemented through
a set of bibliographic data, a description of the frontispiece with transcription of names and
dedication when available. Each source had a set of references and corresponding collocations.
The fìrst two verses of contained poems were extracted to build the poetic incipit index. Incipits
with a significant similarity were clustered and assigned a common group identifìer, within each
group, works were ordered by publication year. This led to che very initial ordering criteria of
the index.

Musical sources were modeled similarly: just some metadata required to describe the musical
form of che madrigal and its characteristics were added. Both source types referred to a
harmonized authority file with a very basic set of metadata required to disambiguate names when
required (and possible).

The following diagram (Diagram 1) shows che resulting model, expressed in UML7. In yellow,
are classes representing core domain entities, and in grey are che corresponding physical table in
the relacional reposicory.




    interoperability, then data shape and detail are affected. A discussion focused on model design and
    evaluation in che DHs is available in [1 4].

7   The UML's class diagram notation idenrifies a bi-directional association relation between classes with
    a straight line, a generalization relation with an arrowed line, and an implemenration relation wirh the
    dotted arrowed one.


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                                                      -

                                                                                                   J




                           Diagram 1: the RePIM originai conceptual model


T he alignment becween the index of poetic works and the musical ones was performed by
comparing che corresponding incipits, cheir year of publication starting from the most ancient,
which is marked as "che archetype", and then proceeding onward through the tradition of the
cexc. While the model effectively supporeed this basic task, its main flaw was to set a hard
separation becween the cwo sides: music and poetry. At che same time, it did not support a
complete description of che structure of a work. That is required when just a pare or a section of
the poetic work is set to music. In this case, only those verses should be added to che index to be
matched to che corresponding musical work.

These limitations led to a major redesign of che model in 2005. The main aim was to harmonize
che description of works maintaining che separation becween sources (carriers) and works
(contents) by merging the cwo sides of the model. At che same time, the description of works
should allow a detailed representation of their attributes and structure (i.e., segmentation in
stanzas or subsets of verses). Also, the index of incipits should be unified to solve che distinction
becween music and poetry incipits. A hard-wired partition of incipits coming from poetry or
musical works is fictitious as, at this leve!, verses are just textual matter that may belong to both.
For instance, an incipit may be relateci to che second stanza of che poetic work and be the whole
text set to music in the first pare of a madrigal. Then, what is imporeant is to have an analytical
description of the structure of the work to be able to relate the incipit to the corresponding
section of each work, be it poetry or musical. This relation represents the proper context of the
origin of the cwo verses. The model's structural partition implied that any full-text search among
different sources must be clone over severa! different tables. T his means, for instance, that
searching for a book tit!e, che same query must be run on both music and poetry book tables to



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    disseminate knowledge about Italian secular music and lyric poetry from the 16th-17th centuries


obtain consistent results. The same complexity applies to the search for dedicatory information,
such as patronage, dedicatory and preliminary texts, which had to be performed separately for
poetry and musical ones.

Moreover, che model design led to less-than-ideal support for generai querying such as rraditional
bibliographic searches. To widen the functional range of the user application, the data structure
should adopt a more harmonized design. These considerations suggested the adoption of the
FRBR model to organize the logica! layers: sources being the physical ones, their contents
represented as Expressions, while incipits became keys to corresponding complex, individuai, or
partial W orks.

        2.3 Towards WEMl· the adoption ofthe FRBR-ER model
Since the early 2000's the FRBR guidelines and the Group 1 entity set WEMI: Work,
Expression, Manifestation, and Item set the reference conceptual articulation of levels required
for an accurate, properly structured, and reusable description of bibliographic sources and their
contents ([15]). The distinction between Work and Manifestation levels is instrumental in
enabling bibliographic, musicological, and literary analytical search. The aim is to allow users to
explore literary and musical production from a single perspective which was not fully supported
by the previous model. While the distinction between the physical carrier and contents was
already present in the originai design, the distinction between Expression, the text contained
within a specifìc edition, and the corresponding Work, which may be edited in different sources
with some (even minor) variations, was not.

Anyway, we must consider that the object of study of RePIM is che poetic text of che madrigal.
This means that the musical counterpart is only described to represent its use in musical sources.
That reduces the complexity of representing the nature of music works, and the compromises
required when describing music performances with the FRBR model [17]. We need to model
the basic distinction between work types, the separation between the work as an "abstract distinct
creation" ([l 5]) and its expressions, 8 and fìnally to set the references to their sources.

Anyway, this required introducing a separation of the two levels obtained from the "synthetic"
partition of the originai set of metadata. Those describing the work, such as the title, the lyrical
or musical attributes, etc. were related to the Work. Those related to the specifìc edition, i.e., the
page number, the tide within the source, and the diplomatic transcription of the tide page,
became attributes of the Expression. Works, Expressions, and Manifestations are then related to
the authority file. Each relation is annotated with specifìc attributes stating for example the raie
of the author, the name as stated in the source, etc. Musical and poetry books, corresponding to


8   Taking into account just the "textual" portion of the madrigal let us describe the musical work's
    expression considering only those musical features related to the intonation, being the other metadata
    describing the poetica! ones. This simplified many of the issues in musical performance representacion
    as FRBR expression ((16]).


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che Items in the WEMI hierarchy, are related to the corresponding Manifescacion representing
che specifìc edition. The relation between Works and index of incipit, a concept that is not
present within the WEMI model, is mediated by the entity "Title". The scope of this "association
class" is to carry che text that has been adopted to "name" each Work and chus becomes its
identifìer. T he new implementation of the index then merges verses coming from both musical
and poetry works. The resulting index is then decoupled from che description of che Work and
serves as an abstracc entry point for both types.

The resulting model is depicted in the following diagram (Diagram 2). 9


          cipit ~ --j
    i-1=,n~·.           ~    I                                   ~ r,:...;::::::J<J··--j   =           I




                                                                                               FRBR 1-/anifestation




                                        1swr LIBRI OPERE!




         I~ f·······-~ A-~
                         , - - -- ~                                                        I
                                                                                           SWT LIBRI BIBLIOTEOE       I   Library




                           D iagram 2: T he FRBR-compliant conceprual model


Obtaining a coherent description of the W ork and Expression leve! starting from the available
set of information has not been a straighcforward procedure. W hile che process adopted to extract
and make the two enticies discrete presented some criticai issues, it allowed information that had
hicherto been implicic to become explicit and formalized. Discretizing the two levels allowed
each entity to be described in more decail through the adoption of specifìc actributes. For
instance, the inclusion of Expression analycically documents che form that each texc cakes in the



9    Core entities are depicted in orange, corresponding physical tables in che RDBMS are in grey, and
     conceprual FRBR classes are in yellow.


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    disseminate knowledge about Italian secular music and lyric poetry from the 16th-17th centuries


different sources testifying the same Work and records in detail all its accompanying historical
information.

The FRBR-complianc RePIM model supports both the incrementai collation of works and
effective user-orienced navigation. Users can search books by their contents, and their editoria!
metadata and navigate relations deriving from collations which is a signifìcant advancement from
the functional point of view. At the same time, the originai partition of musical and poetry
sources and works can stili be obtained through logica! views implemented within the relational
database. The adoption of FRBR affected also the cataloguing process. While metadata
maintenance is improved, as the descriptive set of data is harmonized for each entity type, the
drawback is the effort required to add new entries as any new element must be described at each
of the four levels of the WEMI model to be consistently represented.

While the new design complies with the FRBR generai model, its physical implementation was
specialized to implement domain requirements and had to dea! with some constraints originating
from the data migration from the previous model. The hierarchical nature of the FRBR model
and data normalization, which has been done by adopting domain-related conventions, led to a
multi-layered data structure. The result is a relational model consisting of severa! tables. This
required a complete reengineering of che user application. The role of che application is not only
to enter and query data but also to produce effective representations of information to the users.
This was achieved with che design of logica! views as an abstraction layer mediating between che
data structure and the user's perspective. From a conceptual point of view, chese views provide a
domain coherent interpretation of che underlying physical structure of data. In other words, chey
provide a funccional interpretation of che semantics of che data logica! scruccure. Unfortunacely,
this interpretation, due to the nature of che system architecture that delegates chis role to che
business logie of che application, is parted from the data itself. That means that to make raw data
fully readable by chird parties (being a human reader or an external system), even a basic
description of che logica! model and related views muse be provided along. Even the new FRBR-
compliant model, being less propriecary and though being more functionally orienced chan che
originai one, would scill lack data interoperability withouc proper documentation . Moreover, che
technological platform used for che implementation of the web application in 2006 went out of
maintenance in 2020. This stressed the necessity of a third technical evolucion of the archive and
to address the problem of further maintenance to preserve and keep the knowledge available for
the community of users. The idea of publishing che dataset as Open Data along with
reengineering the application seemed the most effective solution.




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       3. lnto the LOD ecosystem to disseminate and preserve

Publishing research data as Open Data following current leading guidelines such as FAIR
principles requires a significane leve! of accessibility and interoperabilicy to achieve the aim of
reuse.

To make data accessible, domain convencions in informacion representations and praxis in using
and accessing them should be explicated, together with an introduction to decisions taken during
che design of the conceptual model. The semantics of che core entities and their attributes,
dictionaries, and relaced conventions and guidelines to arrange a presentation of data must be
also provided. The fìrst two would give a guide for interpreting data correctly, while the latter
would give a valid, stili not the only, functional view for the user. Documenting these three layers
could be challenging: both conceptual and technical details should be published. Doing this in
natural language would give a reference guide to the human reader but it would not enable direct
machine interoperabilicy and, again, it would be parted from the dataset.

In 2021, following previous similar experiences ( [5]), we decided to adopt semantic technologies
to publish both the conceptual model and the knowledge of the RePIM.

The aim is threefold: to publish the RDF dataset as a LOD resource via an Open Science
platform like Zenodo, 10 to use the same RDF dataset as che source for a new web application,
and, in che future, co support also che cacaloguing process. The fìrst tries to foster che resilience
of che KB towards che technological obsolescence that affecced che archive during che last forcy
years. We also expect that this should increase the resilience leveraging dissemination of
knowledge among different projects and players. Similarly, the second responds to users' requests
to keep the access point to the KB online, while the third is looking forward to a complete
maturity of semantic systems to repiace relational databases as repositories 11 • Unfortunately, the
latter requires not only technological advancements but also the development of a cataloguing
LOD-based ecosyscem in which different actors (i.e., libraries, archives, scholars, etc.) publish
cheir digitai resources and establish coordinated procedures for their dissemination,
incrementation, and maintenance.

       3.1 Going explicit
The use of semantic cechnologies to transpose data contained in relational databases has been an
escablished practice for more than a decade ([6]). At the same time, a wide range of formai
oncologies specifically designed for the cultura! h eritage sector is now available ([3]). T h eir very
application has been evaluated in severa! specifìc fìelds, from the documentation of ancient books


10 DOI: https://doi.org/ 10.5281/zenodo.6635606

11 An example is che initiative LD4L which aims to create a Scholarly Resource Semantic Information
   Score and promote its adoption as che main cataloguing system within the participating institutions.
   See https:/ /wiki.lyrasis.org/pages/viewpage.action?pageid= 187176106 (last accessed 27/09/2022) .


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         P. Bonora, A. Pompilio - RePIM in LOD: semantic technologies to manage, p reserve, and
    disseminate knowledge about Italian secular music and lyric poetry from the 16th-17th centuries


to the description of performing arts and music history ([9]) . We, therefore, had no doubts about
the maturity of the tools available to transpose RePIM content into RDF format ([4]). It was
simply a matter of identifying the reference ontologies to be used as the foundations of the
explicit semantics conceptual model. Starting from the analysis of the coverage obtainable
through reference (and possibly already widespread and established, if not even standard)
ontologies, the introduction of new classes or properties as extensions to express specifìc domain
concepts would then be evaluated. This approach is aimed at maximizing the interoperability of
the dataset while keeping the most accurate defìnition for domain-related concepts. We expect
that the publication of RePIM as a LOD resource through Open Science platforms would lower
the barriers to data access, facilitating both the reuse and extension of the KB by a wider
community.

Since the adoption of FRBR as a reference for the second data model, the use of an FRBR-
compliant ontology was almost natural, then we selected FRBRoo 12 (waiting for LRM to be
published) and CIDOC CRM 13 as reference ontologies. These cover almost all the entities within
the RePIM doma.in, starting from the WEMI hierarchy to the authority fìles of actors (authors
and institutions). Only peculiar domain-related relations or concepts and some required to detail
the structure of a document we found missing. We also considered the adoption of ontologies
dedicated to the musical domain such as Music Ontology ([2 1]) and DOREMUS ([ l]). The
fìrst one is focused on the music production process, actors, and products and is built on top of
the FRBR model. The Musical Work and Musical Manifestation classes represent the
specialization of FRBR's Work and Manifestation entities. The second is designed as an
extension of the CIDOC CRM and FRBR to describe semantically catalogs of music works and
events. In this second case, specifìc classes such as Performance Work and Recording Expressions
are introduced to better describe music catalog entries. As the RePIM does not include
information about musical scores being focused on the poetica) production, in both cases, we
found that definitions already available in the two reference ontologies were satisfactory and no
gain in expressiveness would derive from adopting more specialized ones. Besides, the two
specialized ontologies, do not provide application-related concepts such as the "incipit" or
document articulation and structure such as those required to describe dedicatory texts: both
missing also in the reference ones. Then we decided to adopt the most generai models to design
ours which, in any case, would result being natively aligned with specialized models sharing the
same foundational ontologies.

The RePIM Semantic Model (Repim SM) 14 results from the composition of the set of reference
ontologies and a limited set of classes and properties defìned as specializations.


12 For a brief introduction referto: https://www.cidoc-crm.org/frbroo/short-intro-frbroo

13 The version adopted is the CIDOC CRM version 6.2.1 in RDFS: https://cidoc-
   crm.org/Version/version-6.2.1
14 The RePIM SM is available chrough GicHub: hccps://gichub.com/paolobonora/RePIM-LOD


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The transposition process assigned a target class from the RePIM SM for each of the core entities
in the originai ER model. For instance, works instances excracted from the table "OPERE" were
assigned     to     class    frbroo:Fl5_Complex_Work         for   musical    and    to     class
frbroo:F l 4_Individual_Work for poetry ones. Corresponding Expressions were instantiated
from the table SWT_LIBRI_OPERE (see Diag.2) and defìned as frbroo:F22_Self-
Contained_Expression. Manifestations, instances of frbroo: F3_Manifestation_Product_Type,
come from table "LIBRI". Corresponding Items, marked as frbroo:F5_Items, derive from table
"SWT_LIBRI_BIBLIOTECHE". Similarly, describing atcributes extracted from each table fìeld
were assigned a semantically appropriate property from che semantic model. CIDOC CRM
helped to transpose entities from che authority file and other references: authors from
"RESPONS" table are generically asserted as crm:E39_Actors but also accompanied by their
biographical data when available. The more specifìc class frbroo:Fl l_Corporate_Body has been
instead selected for Libraries (excracted from che cable "BIBLIOTECHE"). Even chese very basic
assignments illustrate che advantage deriving from the adoption of an explicit semantics model.
Anyone (a human or a machine) who can interpret the formai definition of the model can
understand, and then use, RePIM's data expressed in RDF while even the naming conventions
of che originai relational model lack readability.

The RePIM colleccs information from severa! sources from which a cask-oriented subsec of
information is extracted. Concepts such as che Incipit as intended by design are very specifìc and
do have not a direcc equivalent within che cwo reference ontologies. Then we decided to define
che repim:Incipit class as a subclass of crm:E33_Linguistic_Object and crm:E42_Identifier to
assert its cwofold nature of text used to identify works. Some other classes have been introduced
as a specializacion of che crm:E55_Type class to represent inscances of the musical or poetic form
of a madrigal vocabulary (i.e., repim: RC4_Musical_Form and repim: RC5_Poetic_Form) as
long as the genre (repim:RC7_Genre). Some ancillary object properties are dedicated to tracing
relations between linguistic objects such as the repim:RPl_group_member_of which allows
incipits clustering and the repim:RP3_has_literary_source indicating links becween musical and
poetic ones. As a rule, specialization has been adopted to always give the capability to read data
through the corresponding hypernymy hierarchy when a more "generai" interpretation is
required. This also allows third parties to reuse already available alignments with CIDOC CRM
to read assertions based on the RePIM SM which, again, we expect to introduce more flexibility
fostering interoperability and then reuse of data.

The resulting conceptual model consists of 29 classes (12 from CIDOC CRM, 10 from
FRBRoo, and 3 from both DOCO and Repim SM) and 34 properties ( 16 from CIDOC CRM,
5 from FRBRoo, 8 from Repim SM, and others from DoCO 15, BiRO 16 , DCTerms and RDF).
Data were extracced from the legacy database management syscem with a Relational-to-RDF
mapping tool following the semantic alignment becween che FRBR-ER inspired proprietary


15 DoCO: Document Components Ontology [7], http://www.sparontologies.net/ontologies/doco.

16 BiRO: Bibliographic Reference Ontology [8], http://www.sparontologies.net/ontologies/biro.


                                                 84
          P. Bonora, A. Pompilio - RePIM in LOD: semantic technologies to manage, p reserve, and
     disseminate knowledge about Italian secular music and lyric poetry from the 16th-17th centuries


relational model and the Repim SM. The resulting knowledge graph contains 745.258 class
instances and 2.477 .159 property assertions (more than 3 .2 million triples in tota!).



                                     ~     a          PlhH ~                  l11trdet v110 11,nl dot'l>ti vostri1nni - Plhutyp-   t.   sorietto
                                                 .J                      --                                    J                                   .J




                                                           ---
                                                                  r..u, ..




     "T~  r             P   Al vE'rdeevai() apnl rle' bei,.ostn ;mn,


                                           i
                                     has,...mber                                                                                                        o
                                          I
 I                                                            . . . ---1                      -   P4hutime-~ n
                                                                                                                                                        0
     s   . ;m,                                                                    004320010



                                                                                              ---    P7tookpt.c..t




Diagram 3: Part of che graph representing the work "Al verde e vago April de' bei vostri anni" in "Rime"
                                                          by Paolo Gottardo Poncio, 15 72


The transposition in RDF is the outcome of a process of evolution of the descriptive model that
has gone through rhree distinct phases in more than two decades. From a proprietary model
focused on collecting the information required to carry out the collation of madrigals with their
poetic source, we moved on to a model that is stil! proprietaty but designed to respect the
functional approach of FRBR. Therefore, from a purpose-oriented data container, we moved to
an organization of information that responds to more generai requirements while remaining
domain-specific. The introduction of explicit semantics, by signifìcantly lowering the cost of
access to raw data should further extend the possibility of their reuse.

Both the model and application design aimed at the development of a research tool for scholars.
They try to answer very basic research questions expressed by the community of users such as the
simple search fora text in the sources; the relationship between poetic and musical works; which
texts and authors are chosen by composers for their works; what the poetic forms or the places
of editions are. At this stage, we have not performed a more comprehensive evaluation of the
conceptual model rather than verifying the effectiveness of the information representation
obtained through the application by team members. A wider evaluation will be done with a pane!
of domain experts. Besides, only time and the statistics of the downloads of the dataset will tel1
whether the expected dissemination of the dataset will occur.

              3.2 Search and coliate: the end-user application
To let the wider community of users that may not be interested in raw data reuse, we developed
a new web-based application that uses the RDF dataset as the data source. The ResearchSpace
platform has been selected to implement basic functionalities plus a set of requirements expressed
over the years by rhe community but never fully implemented. The design of the new application
followed a functional approach trying to achieve an effective representation of knowledge. This



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meant reducing the complexity of the conceptual model with views that increase che readability
of RDF data. We designed dedicated views for che three core entities: che work, poetic and
musical, and che book. Each view gives che user a synthetic but complete representation of
attributes and relations of che resource. One of che main objectives is to !et che user navigate che
network of relations without getting lost. At che same time, we want to hide del complexity of
che analycical representation of che graph resulcing from che adoption of fine-grained ontologies
such as che CIDOC CRM.

We introduced an experimental tool to help che user to identify new relations becween works
(depicted in Figure 1).

   RePIM
Work A:                                                                                         Wor k B:
Ardo s i ma non tallJO                                                                          Ardo s l ma non t 'amo
Guar ini Battis ta < 15:iH-1612 >                                                               Mo m e ,·e r d i Cla ud io < l fJG7-16'1 :1 >
muclr igale                                                                                     C unrin i & ttista < 15:{8-1612 >
158G                                                                                            mad riga le
                                                                       Senrch on \'out ube      mad riga le
                                                                        Sear ch on L\lSLI'      158 G
                                                                                                                                                                      Search on Yout ube
                                                                                                                                                                       Sear c h on l i\lSLI'
Text:                                                                                           Text :
Ardo s i, ma non t'amo,                                                                         Ardo, si, ma non t'amo,
per fida e dispiet a ta,                                                                        pe r fid' e d is pie t a ta,
indegnamente runata                                                                             indegnamente amata
da sì leale amante:                                                                             eia un st lenl am ante.
più non s ar à che de l mio cluol t i ,·ante ,                                                  Ah, non f in più c he de l mio amo r t i ,·ant e,
c h'i' ho già sano il core,                                                                     perc h'ho g ià sano il core:
e s 'ar do, a rdo cli sdeg no e non d'Amore .                                                   e s'ard o, ardo d i sclegn'e non d'amor e.

                                                                                                Sections :
                                                                                                1. Ardo sì ma n on t'amo ~
                                                                                                2. Ardi o ge la a tua rnglia tè)
                                                                                                3. Arsi e t a ls i a mia \'og lia tè]



Sour ces:                                                                                       Sources:
1587                                                                                            1587     ~lonte,·erd i Claudio < 1567- 1&13 >
            Hime di diversi celebr i poet i dell'età nos tra                                             Madrigali a 5 v .. Libro primo
            Bergamo                                                                                      Venezia
1598        Guarin i Hattis tn < 1538- IOIZ>
            Hi me
            Venezi a
IG09
            Ghir landa de ll'aur or a, scelta di madr igali
            Venezia
Hi ll
            Il "Gareggiamento poet ico d el Confuso Accademico
            Venezia
IGM
            Le "lfose d 'amor e spiegate da d i,·e rs i illus tr i ingegn i ... Pr ima parte
            Vice nza
Wor ks on t he seme poetry ve rsion:                                                            Works on the seme poetry version :
1583     Vecchi O razio T iber io < l 550-IG05 > : mad r igale a GV, l a parte                  158:i   \'ecc hi Orazio T iberio < 1550- 1605 > : mad r igale a GV, l a par t e

1585        Ascanio Gioseffo < l5&:i- 159G > : mad r igale a s , ·                              IS8 5       Hoi \'ic tor < 1585- > : madriga le a 5 \1

1585        Her tru1i Le lio < 1550-1620 > : mad r igale a 5\'                                  158 5       Hm,igo Fl"ru1cesco < 154 1- 1597 > : mad r igale a   av
1585        Cavaccio Giornnni < 155G-1G20 > : madrigale a 5\1                                   158G        Sale Francesco < 15G0-1599 > : mad rigale a 5V



                                    Figure 1: The comparison rool of che new RDF-based applicarion


Starting from a specific intonation of an incipit, the user opens a web page presenting the work's
record on the left side. Then one of che "siblings" works belonging to the same incipit group can
be selected to be shown on the righe half of the page giving the possibilicy to compare the cwo.
Then, navigating che underlying graph of relations becween incipits, che user can explore it in


                                                                                               86
         P. Bonora, A. Pompilio - RePIM in LOD: semantic technologies to manage, p reserve, and
    disseminate knowledge about Italian secular music and lyric poetry from the 16th-17th centuries


search of new possible collations between works. The tool leverages two features of the semantic-
based conceptual model: the capability to generalize the nature of entities and the possibility to
navigate the graph of different types of relations seamlessly. The fìrst lets the application treat
musical and poetic works as generic while searching and differentiating during analytical
representation is required. The second allows che exploration of che relations network following
user-defìned criteria rather than model boundaries. The composition of the two enables a more
functional-oriented approach to application development. At the same time, the new application
leverages some ResearchSpace' s features such as full-text search; Part of Speech and lemma-based
searching capabilities; graph-based browsing of relations between entities (works, authors,
sources, etc.); Named Entity Recognition of names, toponyms, etc.; faceted browsing of topics.
Yet in an early phase of development 17 , the application demonstrates advantages deriving from
the adoption of a semantic conceptual model to represent RePIM data and RDF as a data source.
The ResearchSpace's templating mechanism allows for the arrangement of an effective resource
representation as user's views, although it does not support their formalization within the model
as the introduction of a dedicated semantic layer would allow ([5]). Besides the framework
supports a basic mechanism for expert-led refìnements and expansions of the RePIM knowledge
graph. This will be leveraged in the future to introduce editing and annotation features into the
web application and would lead toward distributed cataloguing and shared responsibilities
among a wider community of scholars. At the same time, the LOD ecosystem would provide the
technological infrastructure to include external sources to fili gaps and reach other
documentation, such as Parona's Feste di Milano, carrying additional information about the
performative context.



        4. Further developments

The current implementation of the application aims to support basic search and browsing
functionalities of the current knowledge expressed within RePIM's KB. The next phase should
aim to let users annotate further fìndings achieved through che exploitation of already available
sources or newly added ones by the community. The ResearchSpace platform supports the
implementation of data editing procedures as well as the creation of semantic narratives and
visual representations of resources from the knowledge graph. This would lead to a collaborative
approach to knowledge extension and maintenance. This will require fìne-grained information
provenance tracing and sharp profìling of contributors. Besides, the outcome would be a shared
effort of knowledge preservation and extension among the wider communiry of users through
the years to come. A further step is to look at the LOD ecosystem as a source to widen the
perimeter of the current KB to better fulfìll its scope by integrating a wider set of documentation.




17 The applicacion is available ac: hccps://repirn.icacci.harvard.edu/login


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For now, we believe that publishing the RePIM archive as LOD will preserve it and offers, both
music scholars and those interested in Renaissance and Baroque poetry, a useful tool and a
valuable source of information, resulcing from over 40 years of research, which otherwise would
be lost in che digitai mist.



       Acknowledgements

The RePIM in LOD project was founded by I Tatti- The Harvard University Center For Italian
Renaissance Studies.



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