Ce mémoire est composé de trois articles qui s’unissent sous le thème de la recommandation musicale à grande échelle. Nous présentons d’abord une méthode pour effectuer des recommandations musicales en récoltant des étiquettes (tags) décrivant les items et en utilisant cette aura textuelle pour déterminer leur similarité. En plus d’effectuer des recommandations qui sont transparentes et personnalisables, notre méthode, basée sur le contenu, n’est pas victime des problèmes dont souffrent les systèmes de filtrage collaboratif, comme le problème du démarrage à froid (cold start problem). Nous présentons ensuite un algorithme d’apprentissage automatique qui applique des étiquettes à des chansons à partir d’attributs extraits de leur fichier audio. L’ensemble de données que nous utilisons est construit à partir d’une très grande quantité de données sociales provenant du site Last.fm. Nous présentons finalement un algorithme de génération automatique de liste d’écoute personnalisable qui apprend un espace de similarité musical à partir d’attributs audio extraits de chansons jouées dans des listes d’écoute de stations de radio commerciale. En plus d’utiliser cet espace de similarité, notre système prend aussi en compte un nuage d’étiquettes que l’utilisateur est en mesure de manipuler, ce qui lui permet de décrire de manière abstraite la sorte de musique qu’il désire écouter. / This thesis is composed of three papers which unite under the general theme of large-scale music recommendation. The first paper presents a recommendation technique that works by collecting text descriptions of items and using this textual aura to compute the similarity between them using techniques drawn from information retrieval. We show how this representation can be used to explain the similarities between items using terms from the textual aura and further how it can be used to steer the recommender. Because our system is content-based, it is not victim of the usual problems associated with collaborative filtering recommenders like the cold start problem. The second paper presents a machine learning model which automatically applies tags to music. The model uses features extracted from the audio files and was trained on a very large data set constructed with social data from the online community Last.fm. The third paper presents an approach to generating steerable playlists. We first demonstrate a method for learning song transition probabilities from audio features extracted from songs played in professional radio station playlists. We then show that by using this learnt similarity function as a prior, we are able to generate steerable playlists by choosing the next song to play not simply based on that prior, but on a tag cloud that the user is able to manipulate to express the high-level characteristics of the music he wishes to listen to.

Ce mémoire est composé de trois articles qui s’unissent sous le thème de la recommandation musicale à grande échelle. Nous présentons d’abord une méthode pour effectuer des recommandations musicales en récoltant des étiquettes (tags) décrivant les items et en utilisant cette aura textuelle pour déterminer leur similarité. En plus d’effectuer des recommandations qui sont transparentes et personnalisables, notre méthode, basée sur le contenu, n’est pas victime des problèmes dont souffrent les systèmes de filtrage collaboratif, comme le problème du démarrage à froid (cold start problem). Nous présentons ensuite un algorithme d’apprentissage automatique qui applique des étiquettes à des chansons à partir d’attributs extraits de leur fichier audio. L’ensemble de données que nous utilisons est construit à partir d’une très grande quantité de données sociales provenant du site Last.fm. Nous présentons finalement un algorithme de génération automatique de liste d’écoute personnalisable qui apprend un espace de similarité musical à partir d’attributs audio extraits de chansons jouées dans des listes d’écoute de stations de radio commerciale. En plus d’utiliser cet espace de similarité, notre système prend aussi en compte un nuage d’étiquettes que l’utilisateur est en mesure de manipuler, ce qui lui permet de décrire de manière abstraite la sorte de musique qu’il désire écouter. / This thesis is composed of three papers which unite under the general theme of large-scale music recommendation. The first paper presents a recommendation technique that works by collecting text descriptions of items and using this textual aura to compute the similarity between them using techniques drawn from information retrieval. We show how this representation can be used to explain the similarities between items using terms from the textual aura and further how it can be used to steer the recommender. Because our system is content-based, it is not victim of the usual problems associated with collaborative filtering recommenders like the cold start problem. The second paper presents a machine learning model which automatically applies tags to music. The model uses features extracted from the audio files and was trained on a very large data set constructed with social data from the online community Last.fm. The third paper presents an approach to generating steerable playlists. We first demonstrate a method for learning song transition probabilities from audio features extracted from songs played in professional radio station playlists. We then show that by using this learnt similarity function as a prior, we are able to generate steerable playlists by choosing the next song to play not simply based on that prior, but on a tag cloud that the user is able to manipulate to express the high-level characteristics of the music he wishes to listen to.

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-04-09T19:37:26Z No. of bitstreams: 1 ANDRYW MARQUES RAMOS - DISSERTAÇÃO PPGCC 2014..pdf: 16053506 bytes, checksum: fdeece58c13c7b38ceb6c8b06f9d516b (MD5) / Made available in DSpace on 2018-04-09T19:37:26Z (GMT). No. of bitstreams: 1 ANDRYW MARQUES RAMOS - DISSERTAÇÃO PPGCC 2014..pdf: 16053506 bytes, checksum: fdeece58c13c7b38ceb6c8b06f9d516b (MD5) Previous issue date: 2014-09-05 / Abuscapornovidadesmusicais,sejamelasmúsicas,álbunsouartistas,éumaspectocentral no hábito das pessoas quando se trata de música. E esta procura aumentou principalmente porcausadagrandequantidadedemúsicadisponívelecomfácilacessoproporcionadopelo avanço de tecnologias como Last.FM, Spotify, Youtube, Itunes, entre outros. Porém, devido a esta grande disponibilidade, nem sempre é fácil a descoberta de novidades que sejam relevantes. Para resolver este problema, muitos esforços foram elaborados. O presente trabalho tenta expandir estes esforços tratando a novidade de maneira multidimensional, de acordo com dois aspectos: familiaridade (o quanto o ouvinte conhece outras músicas/ artistas similares à novidade) e popularidade (o quão essa música / artista é conhecida pelos ouvintes em geral). Esta visão multidimensional da novidade é uma visão mais rica e pode aperfeiçoar ferramentas que dão suporte a descoberta de novidades para ouvintes, como sistemas de recomendação, sites, fóruns, etc. Desta maneira analisamos as preferências dos ouvintes por artistas com novidade (artistas que nunca foram escutados anteriormente pelo ouvinte) baseadas nestes dois aspectos. Para isso foi estudado os hábitos de escuta dos usuários do Last.FM, rede social musical que registra o que os usuários escutam. Os resultados sugerem que não existe uma preferência geral dos ouvintes po ralguma specto das novidades. Os ouvintes tendem a formar grupos baseados nas preferências pelos aspectos das novidades. Estes resultados sugerem um tratamento específico para estes grupos de ouvintes, como um sistema de recomendação que leve em conta estas preferências. Outro estudo realizado neste trabalho compara as preferências dos ouvintes pelos aspectos tanto dos artistas com novidade quanto dos artistas já conhecidos. Este estudo apontou que as preferências dos ouvintes para estes dois âmbitos são diferentes, onde os ouvintes tendem a formar grupos baseados nestas diferentes preferências. Este resultado implica que o âmbito das novidades e o âmbito do que já se conhece não deve ser tratado da mesma maneira. / The search for new music, e.g. songs tracks, albums or artists, is a central aspect in the people’s listening habit. And this pursuit increased because of the large amount of available music and the easy access provided by the advance of technologies like Last.FM, Sportify, Youtube, Itunes. However, due to this high music availability, it is not always easy to discover relevant novelties. This study attempts to expand the studies about music novelties by investigating how the music preferences of listeners are affected by two different aspects of novel artists: familiarity (how much the listener knows other artists similar to the novelty) and popularity (how this artist is known by listeners in general). The study supports this multidimensional view of novelty, which is a richer view and it enables the improvement of tools that support the discovery of music novelties for listeners, as recommender systems, websites,forums,etc. WecollectedandanalyzedhistoricaldatafromLast.fmusers,apopular online music discovery service. The results suggest that there is not a general preference for some aspect of novelty. Listeners tend to form groups based on the preferences for the novelty aspects. These results suggest a specific treatment for these groups of listeners, e.g., a recommendation system considering these preferences. Another study performed compares the listeners preferences by aspects of both novelty artists and artists already known. This study showed that the listeners preferences for these two spheres are different, where listeners tend to form groups based on these different preferences. This result implies that the scope of novelty and the scope of what is already known should not be treated the same way.

After decades of black-boxing the existence of algorithms in technologies of daily need, users lack confidence in handling them. This thesis study investigates the use situation of intelligent music recommendation systems and explores how understandability as a principle drawn from sociology, design, and computing can enhance the algorithmic experience. In a Research-Through-Design approach, the project conducted focus user sessions and an expert interview to explore first-hand insights. The analysis showed that users had limited mental models so far but brought curiosity to learn. Explorative prototyping revealed that explanations could improve the algorithmic experience in music recommendation systems. Users could comprehend information the best when it was easy to access and digest, directly related to user behavior, and gave control to correct the algorithm. Concluding, trusting users with more transparent handling of algorithmic workings might make authentic recommendations from intelligent systems applicable in the long run.

Sentiment Analysis is an area of Computer Science that deals with the impact a document makes on a user. The very field is further sub-divided into Opinion Mining and Emotion Analysis, the latter of which is the basis for the present work. Work on songs is aimed at building affective interactive applications such as music recommendation engines. Using song lyrics, we are interested in both supervised and unsupervised analyses, each of which has its own pros and cons. For an unsupervised analysis (clustering), we use a standard probabilistic topic model called Latent Dirichlet Allocation (LDA). It mines topics from songs, which are nothing but probability distributions over the vocabulary of words. Some of the topics seem sentiment-based, motivating us to continue with this approach. We evaluate our clusters using a gold dataset collected from an apt website and get positive results. This approach would be useful in the absence of a supervisor dataset. In another part of our work, we argue the inescapable existence of supervision in terms of having to manually analyse the topics returned. Further, we have also used explicit supervision in terms of a training dataset for a classifier to learn sentiment specific classes. This analysis helps reduce dimensionality and improve classification accuracy. We get excellent dimensionality reduction using Support Vector Machines (SVM) for feature selection. For re-classification, we use the Naive Bayes Classifier (NBC) and SVM, both of which perform well. We also use Non-negative Matrix Factorization (NMF) for classification, but observe that the results coincide with those of NBC, with no exceptions. This drives us towards establishing a theoretical equivalence between the two.

Recommendation systems make it easier for an individual to navigate through large datasets by recommending information relevant to the user. Companies such as Facebook, LinkedIn, Twitter, Netflix, Amazon, Pandora, and others utilize these types of systems in order to increase revenue by providing personalized recommendations. Recommendation systems generally use one of the two techniques: collaborative filtering (i.e., collective intelligence) and content-based filtering. Systems using collaborative filtering recommend items based on a community of users, their preferences, and their browsing or shopping behavior. Examples include Netflix, Amazon shopping, and Last.fm. This approach has been proven effective due to increased popularity, and its accuracy improves as its pool of users expands. However, the weakness with this approach is the Cold Start problem. It is difficult to recommend items that are either brand new or have no user activity. Systems that use content-based filtering recommend items based on extracted information from the actual content. A popular example of this approach is Pandora Internet Radio. This approach overcomes the Cold Start problem. However, the main issue with this approach is its heavy demand on computational power. Also, the semantic meaning of an item may not be taken into account when producing recommendations. In this thesis, a hybrid approach is proposed by utilizing the strengths of both collaborative and content-based filtering techniques. As proof-of-concept, a hybrid music recommendation system was developed and evaluated by users. The results show that this system effectively tackles the Cold Start problem and provides more variation on what is recommended.

Information Filtering and Recommender Systems have been used and has been implemented in various ways from various entities since the dawn of the Internet, and state-of-the-art approaches rely on Machine Learning and Deep Learning in order to create accurate and personalized recommendations for users in a given context. These models require big amounts of data with a variety of features such as time, location and user data in order to find correlations and patterns that other classical models such as matrix factorization and collaborative filtering cannot. This thesis researches, implements and compares a variety of models with the primary focus of Machine Learning and Deep Learning for the task of music recommendation and do so successfully by representing the task of recommendation as a multi-class extreme classification task with 100 000 distinct labels. By comparing fourteen different experiments, all implemented models successfully learn features such as time, location, user features and previous listening history in order to create context-aware personalized music predictions, and solves the cold start problem by using user demographic information, where the best model being capable of capturing the intended label in its top 100 list of recommended items for more than 1/3 of the unseen data in an offine evaluation, when evaluating on randomly selected examples from the unseen following week. / Informationsfiltrering och rekommendationssystem har använts och implementeratspå flera olika sätt från olika enheter sedan gryningen avInternet, och moderna tillvägagångssätt beror påMaskininlärrning samtDjupinlärningför att kunna skapa precisa och personliga rekommendationerför användare i en given kontext. Dessa modeller kräver data i storamängder med en varians av kännetecken såsom tid, plats och användardataför att kunna hitta korrelationer samt mönster som klassiska modellersåsom matris faktorisering samt samverkande filtrering inte kan. Dettaexamensarbete forskar, implementerar och jämför en mängd av modellermed fokus påMaskininlärning samt Djupinlärning för musikrekommendationoch gör det med succé genom att representera rekommendationsproblemetsom ett extremt multi-klass klassifikationsproblem med 100000 unika klasser att välja utav. Genom att jämföra fjorton olika experiment,så lär alla modeller sig kännetäcken såsomtid, plats, användarkänneteckenoch lyssningshistorik för att kunna skapa kontextberoendepersonaliserade musikprediktioner, och löser kallstartsproblemet genomanvändning av användares demografiska kännetäcken, där den bästa modellenklarar av att fånga målklassen i sin rekommendationslista medlängd 100 för mer än 1/3 av det osedda datat under en offline evaluering,när slumpmässigt valda exempel från den osedda kommande veckanevalueras.

Music is perceived and described very subjectively by every individual. Nowadays, people often get lost in their steadily growing, multi-placed, digital music collection. Existing music player and management applications get in trouble when dealing with poor metadata that is predominant in personal music collections. There are several music information services available that assist users by providing tools for precisely organising their music collection, or for presenting them new insights into their own music library and listening habits. However, it is still not the case that music consumers can seamlessly interact with all these auxiliary services directly from the place where they access their music individually. To profit from the manifold music and music-related knowledge that is or can be available via various information services, this information has to be gathered up, semantically federated, and integrated into a uniform knowledge base that can personalised represent this data in an appropriate visualisation to the users. This personalised semantic aggregation of music metadata from several sources is the gist of this thesis. The outlined solution particularly concentrates on users’ needs regarding music collection management which can strongly alternate between single human beings. The author’s proposal, the personal music knowledge base (PMKB), consists of a client-server architecture with uniform communication endpoints and an ontological knowledge representation model format that is able to represent the versatile information of its use cases. The PMKB concept is appropriate to cover the complete information flow life cycle, including the processes of user account initialisation, information service choice, individual information extraction, and proactive update notification. The PMKB implementation makes use of SemanticWeb technologies. Particularly the knowledge representation part of the PMKB vision is explained in this work. Several new Semantic Web ontologies are defined or existing ones are massively modified to meet the requirements of a personalised semantic federation of music and music-related data for managing personal music collections. The outcome is, amongst others, • a new vocabulary for describing the play back domain, • another one for representing information service categorisations and quality ratings, and • one that unites the beneficial parts of the existing advanced user modelling ontologies. The introduced vocabularies can be perfectly utilised in conjunction with the existing Music Ontology framework. Some RDFizers that also make use of the outlined ontologies in their mapping definitions, illustrate the fitness in practise of these specifications. A social evaluation method is applied to carry out an examination dealing with the reutilisation, application and feedback of the vocabularies that are explained in this work. This analysis shows that it is a good practise to properly publish Semantic Web ontologies with the help of some Linked Data principles and further basic SEO techniques to easily reach the searching audience, to avoid duplicates of such KR specifications, and, last but not least, to directly establish a \"shared understanding\". Due to their project-independence, the proposed vocabularies can be deployed in every knowledge representation model that needs their knowledge representation capacities. This thesis added its value to make the vision of a personal music knowledge base come true.

Music is perceived and described very subjectively by every individual. Nowadays, people often get lost in their steadily growing, multi-placed, digital music collection. Existing music player and management applications get in trouble when dealing with poor metadata that is predominant in personal music collections. There are several music information services available that assist users by providing tools for precisely organising their music collection, or for presenting them new insights into their own music library and listening habits. However, it is still not the case that music consumers can seamlessly interact with all these auxiliary services directly from the place where they access their music individually. To profit from the manifold music and music-related knowledge that is or can be available via various information services, this information has to be gathered up, semantically federated, and integrated into a uniform knowledge base that can personalised represent this data in an appropriate visualisation to the users. This personalised semantic aggregation of music metadata from several sources is the gist of this thesis. The outlined solution particularly concentrates on users’ needs regarding music collection management which can strongly alternate between single human beings. The author’s proposal, the personal music knowledge base (PMKB), consists of a client-server architecture with uniform communication endpoints and an ontological knowledge representation model format that is able to represent the versatile information of its use cases. The PMKB concept is appropriate to cover the complete information flow life cycle, including the processes of user account initialisation, information service choice, individual information extraction, and proactive update notification. The PMKB implementation makes use of SemanticWeb technologies. Particularly the knowledge representation part of the PMKB vision is explained in this work. Several new Semantic Web ontologies are defined or existing ones are massively modified to meet the requirements of a personalised semantic federation of music and music-related data for managing personal music collections. The outcome is, amongst others, • a new vocabulary for describing the play back domain, • another one for representing information service categorisations and quality ratings, and • one that unites the beneficial parts of the existing advanced user modelling ontologies. The introduced vocabularies can be perfectly utilised in conjunction with the existing Music Ontology framework. Some RDFizers that also make use of the outlined ontologies in their mapping definitions, illustrate the fitness in practise of these specifications. A social evaluation method is applied to carry out an examination dealing with the reutilisation, application and feedback of the vocabularies that are explained in this work. This analysis shows that it is a good practise to properly publish Semantic Web ontologies with the help of some Linked Data principles and further basic SEO techniques to easily reach the searching audience, to avoid duplicates of such KR specifications, and, last but not least, to directly establish a \"shared understanding\". Due to their project-independence, the proposed vocabularies can be deployed in every knowledge representation model that needs their knowledge representation capacities. This thesis added its value to make the vision of a personal music knowledge base come true.:1 Introduction and Background 11 1.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 1.2 Personal Music Collection Use Cases . . . . . . . . . . . . . . . . . . . . . . . . . 14 1.3 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 2 Music Information Management 17 2.1 Knowledge Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 2.1.1 Knowledge Representation . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 2.1.1.1 Knowledge Representation Models . . . . . . . . . . . . . . . . . 18 2.1.1.2 Semantic Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 2.1.1.3 Ontologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 2.1.1.4 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 2.1.2 Knowledge Management Systems . . . . . . . . . . . . . . . . . . . . . . . 19 2.1.2.1 Information Services . . . . . . . . . . . . . . . . . . . . . . . . . 19 2.1.2.2 Ontology-based Distributed Knowledge Management Systems . . 20 2.1.2.3 Knowledge Management System Design Guideline . . . . . . . . 21 2.1.3 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 2.2 Semantic Web Technologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 2.2.1 The Evolution of the World Wide Web . . . . . . . . . . . . . . . . . . . . . 22 Personal Music Knowledge Base Contents 2.2.1.1 The Hypertext Web . . . . . . . . . . . . . . . . . . . . . . . . . . 23 2.2.1.2 The Normative Principles of Web Architecture . . . . . . . . . . . 23 2.2.1.3 The Semantic Web . . . . . . . . . . . . . . . . . . . . . . . . . . 24 2.2.2 Common Semantic Web Knowledge Representation Languages . . . . . . 25 2.2.3 Resource Description Levels and their Relations . . . . . . . . . . . . . . . 26 2.2.4 Semantic Web Knowledge Representation Models . . . . . . . . . . . . . . 29 2.2.4.1 Construction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 2.2.4.2 Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 2.2.4.3 Context Modelling . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 2.2.4.4 Storing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 2.2.4.5 Providing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 2.2.4.6 Consuming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 2.2.5 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 2.3 Music Content and Context Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 2.3.1 Categories of Musical Characteristics . . . . . . . . . . . . . . . . . . . . . 37 2.3.2 Music Metadata Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 2.3.3 Music Metadata Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 2.3.3.1 Audio Signal Carrier Indexing Services . . . . . . . . . . . . . . . . 41 2.3.3.2 Music Recommendation and Discovery Services . . . . . . . . . . 42 2.3.3.3 Music Content and Context Analysis Services . . . . . . . . . . . 43 2.3.4 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 2.4 Personalisation and Environmental Context . . . . . . . . . . . . . . . . . . . . . . 44 2.4.1 User Modelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 2.4.2 Context Modelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 2.4.3 Stereotype Modelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 2.5 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 3 The Personal Music Knowledge Base 48 3.1 Foundations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 3.1.1 Knowledge Representation . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 3.1.2 Knowledge Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 3.2 Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 3.3 Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 3.3.1 User Account Initialisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 3.3.2 Individual Information Extraction . . . . . . . . . . . . . . . . . . . . . . . . 53 3.3.3 Information Service Choice . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 3.3.4 Proactive Update Notification . . . . . . . . . . . . . . . . . . . . . . . . . . 55 3.3.5 Information Exploration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 3.3.6 Personal Associations and Context . . . . . . . . . . . . . . . . . . . . . . . 56 3.4 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 4 A Personal Music Knowledge Base 57 4.1 Knowledge Representation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 4.1.1 The Info Service Ontology . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 4.1.2 The Play Back Ontology and related Ontologies . . . . . . . . . . . . . . . . 61 4.1.2.1 The Ordered List Ontology . . . . . . . . . . . . . . . . . . . . . . 61 4.1.2.2 The Counter Ontology . . . . . . . . . . . . . . . . . . . . . . . . . 62 4.1.2.3 The Association Ontology . . . . . . . . . . . . . . . . . . . . . . . 64 4.1.2.4 The Play Back Ontology . . . . . . . . . . . . . . . . . . . . . . . . 65 4.1.3 The Recommendation Ontology . . . . . . . . . . . . . . . . . . . . . . . . 69 4.1.4 The Cognitive Characteristics Ontology and related Vocabularies . . . . . . 72 4.1.4.1 The Weighting Ontology . . . . . . . . . . . . . . . . . . . . . . . 72 4.1.4.2 The Cognitive Characteristics Ontology . . . . . . . . . . . . . . . 73 4.1.4.3 The Property Reification Vocabulary . . . . . . . . . . . . . . . . . 78 4.1.5 The Media Types Taxonomy . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 4.1.6 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 4.2 Knowledge Management System . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 4.3 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 5 Personal Music Knowledge Base in Practice 87 5.1 Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 5.1.1 AudioScrobbler RDF Service . . . . . . . . . . . . . . . . . . . . . . . . . . 87 5.1.2 PMKB ID3 Tag Extractor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 5.2 Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 5.2.1 Reutilisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 5.2.2 Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 5.2.3 Reviews and Mentions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 5.2.4 Indexing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 5.3 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 6 Conclusion and Future Work 93 6.1 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 6.2 Future Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94