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Polifonia is driven by 10 pilot studies that interact with and address the preservation, management, and study of musical heritage (MH). Focused on real-world music cases – such as Italian bell heritage, organs in the Netherlands, access to musical heritage for deaf people, and the identification of recurring melodic patterns – these pilots provide a means to validate Polifonia’s computational solutions; to strengthen the project’s outreach; and to integrate new scenarios, early-adopters and stakeholders. They are developed by interdisciplinary teams of researchers from the humanities and social sciences, and from computer science.This deliverable focuses on the mid-term validation of the four pilots that deal with the study of musical heritage: Tonalities, Tunes, MusicBo, and Child. It is a first step in the pilot validation process which will culminate in the D1.8 deliverable at the end of the project at M40. The main objectives at this stage are to a) present the individual pilot’s validation protocols; b) apply these protocols and present the results obtained so far; and, c) identify the lessons learned from the mid- term validation and address the avenues to be developed, strengthened, and reconsidered in view of the final validation.The validation protocols were designed on the basis of a shared validation framework developed in connection with WP5 and presented in detail in the second version of Polifonia’s socio-technical Roadmap at M18 (D1.2). This validation framework aims to ensure that:• O1: The pilot objectives reflect concrete needs expressed by the target communities and contribute to the state of the art;• O2: the methods and approaches are sound;• O3: the data on which the pilots are based are of sufficient quality to achieve the desiredobjectives;• O4: the objectives and results expressed are achieved;• O5: the resources, methods, and tools provided are made explicit and integrated into the Polifonia Ecosystem, interconnected through the PON and conveyed through the Web portal.The Validation framework is modular in nature. It includes core criteria with which all pilots must comply and specific validation methods for individual pilots or pilot groups. In table 1 the pilots considered in this deliverable (Tonalities, Tunes, MusicBo and Child) are identified in red.The compliance of the pilots to a set of common core tools, principles, and guidelines grants a methodological and conceptual coherence to the whole while leaving enough space for individual pilot-specific validation protocols: Applying a mix of XD and UX Design helps to unify the design process of the pilots, ensures that their objectives are in line with real needs, and enables to monitor the extent to which the requests and needs are actually implemented. The conformity of the pilots to the Ecosystem and its Rulebook ensures that all components are correctly referenced and documented. As a place for disseminating, enhancing and interconnecting the pilots, the Web portal helps to harmonize the way Polifonia’s resources can be presented, explored, and searched by both amateur and expert users. Finally, the Polifonia Survey provides meticulous documentation on the choices, orientations, resources, and objectives of each pilot and is the main source of information for the pilot’s individual validation strategies.The pilot specific methods cover the “input data” to assess the quality of the musical data (recordings, scores, historical texts, etc.) and to identify what changes have been made to the dataset to suit the pilot’s requirements. The validation of tools/means/software aims at verifying both the robustness and the ergonomics of the technical solutions implemented. Finally, the output/goal validation covers the validation of both the objectives and the results of the pilot.The following sections present the individual validation protocol for the four pilots, give a critical presentation of the results obtained, and draw lessons learned from these first validation attempts. The intermediate validation supposes that the pilots identify and describe all the elements and steps of their validation protocol. However, not all of these elements have yet to be fully defined and systematically put into practice at this stage. The second deliverable dedicated to the validation at the end of the project will have the threefold objective of a) updating the validation protocols; b) proposing their exhaustive application; and c) monitoring the resolution of problems, the optimization of performances, and the improvement of results since the present intermediate validation.A global overview of the methods, results, and lessons learned is proposed in the conclusion of the deliverable.

Paper presented in theMusical Heritage Knowledge Graphs workshop during the 22nd International Semantic Web Conference 2022, Oct 2022, Hangzhou, China.

Polifonia is driven by 10 pilot use cases addressing preservation, management, studying musical heritage (MH), and interacting with it. Being real-world use cases – for example the Italian bell heritage, organs in the Netherlands, access to musical heritage for deaf people or the identification of recurring melodic patterns –, these pilots provide a means to validate Polifonia’s computational solutions, to strengthen the project’s outreach, and to integrate new scenarios, early-adopters and stakeholders. They are developed by interdisciplinary teams of researchers from the humanities and social sciences, and from computer science.This deliverable presents the second version of a “socio-technical Roadmap” which aims at providing a common framework to all pilots for:1. Coordinating collection of resources for use in the pilots,2. Gathering requirements from internal and external adopters/stakeholders,3. Setting objectives and challenges and mapping them from specific domains to thetechnology provider work packages, and4. Monitoring validation within the pilot tasks.While the first version of the Roadmap, D1.1 released at M69, adopted a bottom-up approach, the current version proposes a generalization of methods to share, interlink, articulate and validate resources, tools and results within a decentralized yet interconnected Ecosystem.This generalization is based on an interdisciplinary dialogue between a) the musicologists, linguists, historians and curators working at the pilots and b) the computer scientists, designers and researchers in cognitive sciences involved in the project. The outcome is the result of a continuous interaction between WP110 – the driving force of Polifonia and place where the pilots happen – and the technology provider work packages (WP2-5).An important vector of this dialogue are the "SMS-tools" – Stories, Maninpasta, and Survey –, which were presented in detail in the first version of the Roadmap. These tools have helped a) to constantly keep and update a centralized view of the information collected (Survey), b) to strengthen synergies through practical and concrete work between researchers from different disciplines (Maninpasta), and c) to collect the requests, needs and expectations of the pilots (Stories). As central pillars of the Roadmap, they have allowed both to identify and to promote common principles, methods and approaches among the pilots while preserving their specific needs and orientations.The four sections of this deliverable relate to the four objectives outlined above and critically present how the tool’s current state of development, methods and strategies contribute to the Roadmap. While the deliverable is organised according to the four objectives, the tools presented do not focus exclusively on one of them but cover several of them: the Survey, for example, contributes to both resource collection and validation monitoring. For methodological reasons, however, the tools will be presented in detail in the section in which they play a key role. Beyond the presentation of a set of tools, principles and methods that can be applied to the pilots, that regulate their interaction and that can be transferred to other use cases, the objective of this document is also to describe how the collaborative work took place and how the framework was shaped.To facilitate the reading of this deliverable, a glossary (which provides a resolution of acronyms, short definitions and links) is included in Appendix 1. Appendix 2 gives a presentation of the pilots and their objectives. Appendix 3 summarizes the essential data of WP1, to which the Roadmap is attached and which constitutes the driving force of the project. Appendix 4 provides key data on the other Polifonia work packages. The last two Appendices 5 and 6 give an update of the pilot’s Stories and of the Survey.

International audience; Presentation of Tonalities' interface during the Advisory Board Meeting (20 September 2022) in the framework of the 5th Polifonia Project Meeting in Paris (September 2022).

The deliverable reports on the collaborative methodology and tools for the technical developmentof the Pilots of the Polifonia Project. Technical development is coordinated by a Technical Boardthat designed a methodology inspired by agile software development methodologies, adaptedto the needs of a research project consortium. Developers and domain experts are engaged incollaborative workshops in a co-creation process that leads to the identification of task-orientedworking groups. These are developed autonomously and associated to Work Package activities.Technical outputs of the activities are collected and harmonised into a Polifonia Ecosystem - acollection of resources for musical cultural heritage preservation and reuse (software, end-usertools, data, requirement specifications, documentation, etc...). The collaborative tools for developmentare centred on a share space on GitHub, a Discord server for instant messaging, and amailing list. The deliverable report on the initial work conducted on the pilots, particularly focusingon highlighting collaboration among consortium partners and shared of expertise betweendomain experts (musicologists, music historians) and technology experts. Finally, the deliverableillustrates preliminary plans for a Polifonia Web Portal, an aggregator of Musical HeritageKnowledge.

Polifonia is driven by ten pilot use cases, which provide both a validation context and the input requirements to the other research and development work packages. The pilots are heterogeneous in terms of knowledge domains, e.g. bells heritage, popular Irish music, history of music in Bologna, music influence on children. They involve interdisciplinary teams that bring different experience and methodological practices. This report describes the effort made so far, in collaboration and accordance with the Technical Board (see Deliverable 1.31), towards identifying and building a common methodological framework, called socio-technical roadmap, for developing the ten pilots. Three main tools have been designed and implemented to this end, following a bottom up approach: a) A story-based methodology that leads musicologists, linguists, music heritage actors and IT specialists to describe their scientific skills, requests and goals in a narrative plot; b) Interdisciplinary workshops called Maninpasta that support the creation and coordination of working groups focusing on specific development tasks; and c) A Survey to systematically collect information about the pilots, and to facilitate the identification of interconnections between them. After situating this deliverable in Polifonia’s overall architecture, the tools and methods are presented individually and then compared. The objectives achieved and the prospects are finally outlined. Six short appendixes make this report self-contained, including a glossary of terms, a description of the ten pilots, and a description of Polifonia work packages’ organisation.

International audience

Ce catalogue s’inscrit dans l’action de recensement « Patrimoine musical régional » financée par le ministère de la Culture et de la Communication, sous l’égide scientifique de la Bibliothèque nationale de France et du Centre d’études supérieures de la Renaissance de Tours., The present catalogue is the result of the census-programme «Patrimoine musical régional», funded by the French Ministry of Culture and Communication, under the scientific scrutiny of the Bibliothèque nationale de France and of the Centre d’études supérieures de la Renaissance in Tours.

Ce cinquième volume poursuit la collection commencée par le même auteur en 2006, avec un premier volume consacré à la bibliothèque municipale de Colmar [Collections d’Alsace, de Franche-Comté et de Lorraine. I. Colmar, Bibliothèque municipale]. Comme on l’indique dans l’introduction à la collection, « Ce catalogue a pour objet le recensement et la description des manuscrits du Moyen Âge, partiellement ou intégralement notés, ainsi que des fragments ou...

International audience

Ce catalogue de sources musicales anciennes de la ville d’Angers s’inscrit dans l’action du « Patrimoine musical régional » financée par le ministère de la Culture et de la Communication, sous l’égide scientifique de la Bibliothèque nationale de France et du Centre d’études supérieures de la Renaissance de Tours., This catalogue of old musical sources from the town of Angers is part of the “Regional musical heritage” activities financed by the Department of Culture and Communications under the aegis of the Bibliothèque nationale de France and the Centre of further studies of the Renaissance in Tours.

National audience

International audience

International audience; Boccace imagina de clore les dix journées qui composent son Décaméron par autant de « ballate » musicales. Au cours du XVIe siècle, une ou plusieurs stances de chacune de ces ballades, à l’exception de Deh!, lassa, la mia vita (journée VII), furent mises en musique au moins une fois. Le cas le plus connu est sans aucun doute celui de Io mi son giovinetta (journée IX), dont la forme originale fut modifiée et pliée aux exigences polymétriques du madrigal par le compositeur Domenico Ferrabosco (1542). Plusieurs fois réimprimée dans les décennies suivantes, le madrigal de Ferrabosco connut un succès remarquable et s’imposa comme modèle de référence pour d’autres compositeurs comme Noë Faignient, Jean de Castro, Giovan Battista Sessa, Giovanni Pietro Manenti, Giovan Battista Mosto e Jan P. Sweelinck. On sait qu’en 1569 Girolamo Scotto composa lui aussi un madrigal sur Io mi son giovinetta, mais, l’unique exemplaire imprimé ayant été détruit durant la Seconde Guerre mondiale, il n’est pas possible de déterminer si suivit également le modèle de Ferrabosco. Cependant, tout au long de sa production musicale, Scotto travailla à divers reprises sur les textes des ballades du Décaméron. Le but de mon intervention sera de mettre en évidence, dans ces autres cas, les choix opérés par le compositeur dans la mise en musique d’une forme poétique qui ne correspondait plus au goût ni aux modes de son époque.

Nell’affrontare il rapporto tra musica e immagine nel musical Moulin Rouge! (2001) di Baz Luhrmann si sono presi in considerazione due aspetti: 1) la volontà del regista di dare nuovo lustro al genere del musical e 2) l’impiego in tal senso delle tecniche e del linguaggio del cinema postmoderno. Attraverso l’analisi di questi due aspetti, vengono definite le coordinate del genere musical e le strategie linguistiche di Luhrmann: auto-referenzialità e ricorso al medley di canzoni prese dal repertorio ‘leggero’ degli anni ’60-’90 (The Beatles, David Bowie, Elton John, Madonna, i Kiss, i Queen, i Nirvana, gli U2, ecc.), impiego di un complesso sistema di citazioni (dalla Traviata di Verdi al precedente filmico di John Houston – Moulin Rouge, 1952), contaminazione del genere musical col linguaggio pubblicitario e del videoclip, inquadrature frenetiche e tipiche del cinema postmoderno., Philomusica on-line, Vol 6, N° 3 (2007): La comunicazione audiovisiva: immagine e suono nel cinema e nei testi multimediali

Philomusica on-line, Vol 4, N° 1 (2005): Annata 2004-2005