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SKCMDb.qmd
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---
title: "Towards a European Music Dataspace"
subtitle: "The Digital Music Observatory and the Slovak Comprehensive Music Database (SKCMDb)"
author:
- name: "Daniel Antal, CFA"
orcid: 0000-0001-7513-6760
url: https://reprex.nl/author/daniel-antal/
affiliations:
- name: Reprex
address: "Saturnusstraat 14"
city: The Hague
state: Zuid-Holland
country: The Netherlands
postal-code: "2516 AH"
url: https://reprex.nl/
- name: OpenCollections
url: https://opencollections.net/
papersize: A4
format:
html:
toc: true
toc-depth: 3
pdf:
toc: true
colorlinks: true
latex:
- lof: true
epub:
toc: true
toc-depth: 3
bibliography:
- bib/antal.bib
- bib/datagovernance.bib
- bib/datalinking.bib
- bib/dataspace.bib
- bib/datamodels.bib
- bib/eXtremeDesign.bib
- bib/OpenMusE.bib
- bib/Wikidata.bib
---
{{< pagebreak >}}
## The Digital Music Observatory and the Slovak Comprehensive Music Database
The `Digital Music Observatory` is the prototype of a European music observatory. It grew from the CEEMID project originally initiated by three author societies and their consultant. As an alternative to the centralised and failed approaches to administering data in the European music sector, it has offered a decentralised solution to fill the data gaps of the music sector since 2014 following the evolving concept of the data sharing space.
- 2020: The Digital Music Observatory product/market fit validated in the [Yes!Delft AI+Blockchain Lab](https://reprex.nl/post/2020-09-25-yesdelft-validation/).
- 2021: The idea is further developed in the [JUMP European Music Market Accelerator](https://reprex.nl/post/2021-12-02-dmo-jump/), a Creative Europe innovation program.
- 2022: Several partners of the Digital Music Observatory participate in the Music Moves Europe microgrant program, MusicAIRE.
- 2023: The Open Music Europe Horizon Europe Research and Innovation Grant aims to fill out the four envisioned pillars of the European Music Observatory in our prototype. (Read [more](#ome).)
- 2024: Planned release of the observatory with a large-scale Slovak pilot.
We imagine the future `European Music Observatory` as a permanent governance institution of a `European Music Dataspace`, with the Music Observatory Stakeholder Network as an intermediate, exploratory governance body for a permanent institution.
We would like to invite into this organisation:
- [x] representative data owners in the field of author's rights management, neighbouring rights management,
- [x] concert and festival ticketing, digital distributors,
- [x] export offices,
- [x] music libraries
- [x] music information centers
to exchange data with each other and form a data ecosystem[^1] with the purpose of using, producing, and providing interoperable data for the benefit of the European music ecosystem. This ecosystem should be supported with a data (sharing) space[^2].
[^1]: A Data Ecosystem is a “purposeful collaboration or partnership consuming, producing and providing interoperable data and related resources.” [@bdva_data_sharing_spaces_interoperability_2023, p19].
[^2]: A Data space is a “public collection of findable, accessible, interoperable and reusable (FAIR), quality data and related resources consumed, produced and provided by identified participants, each respecting societal values and operating within an explicit framework of trust and governance”. [@bdva_data_sharing_spaces_interoperability_2023, p19].
At the same time, via the Statistical Data and Metadata eXchange, the EU Open Data Portal, Europeana, and Wikidata, they connect to various reliable sources of music-related economic, social, and sustainability information.
In order to unleash the power of big data, and to balance the data power relationship of the fragmented European music sector vis-à-vis the global technology platforms, we are seeking a governance model that works well for music professionals, their institutions and enterprises, and for their intelligent systems, too.
![We follow the European Interoperability Framework to develop systems that can work across legal, institutional and technical barriers to create a shared big data space for the benefit of the European music sector [@EIF_2017].](png/interoperability/eif_conceptual_model_p46.png){alt="The"}
- [x] Seek clarity on the legal matters of licensing or exchanging data, preferably in machine-readable form, too.
- [x] Find a governance model that works for all kind of music institutions: social and for-profit enterprises, their associations, collective management, record labels and publishers—regardless how major or minor role they play–, distributors, concert and festival promoters, cultural poilcymakers, universities across the music domain.
- [x] Create very precise, human- and machine readable knowledge about the data we collect, so data can be connected without logical errors and with a shared meaning.
- [x] Ensure that simple spreadsheet applications like Excel or Google Sheets, statistical software like SPSS, STATA, R, and complex database management systems can work with our data at ease.
## Towards a European Music Dataspace
> A dataspace is an emerging approach to data management which recognises that in large-scale integration scenarios, involving thousands of data sources, it is difficult and expensive to obtain an upfront unifying schema across all sources. Data is integrated on an »as-needed« basis with the labour-intensive aspects of data integration postponed until they are required. Dataspaces reduce the initial effort required to set up data integration by relying on automatic matching and mapping generation techniques. [@curry_dataspaces_2020]
From an organisational point of view, they are federated data ecosystems with harmonised data collection, exchange, and processing that allow cross-linking, for example, audience demography survey data, ticket sales logs, or financial, carbon and waste data of a music festivals.
.](png/music-data-ecosystem/music_data_ecosystem.png){alt="The chart is a modification of the chart of dataspaces.info."}
- [x] Data ownership and assertion of rights do not change with joining the data space.
- [x] A very thorough technical and semantic harmonisation allows the *potential* automatic linking of databases without a pre-defined, centralised database schema.
- [ ] The data space may create joint public or non-public databases, but its role is to coordinate data flows and access rights among existing databases.
- [x] Our vision of the European Music Observatory that it is an organisation supported by a European Music Dataspace with a joint data map, and a possibility to exchange or disseminate data on a case-by-case, "as-needed" or "as-permitted" basis.
![A data space is a data and knowledge sharing and coordination tool for the “public collection of findable, accessible, interoperable and reusable quality data and related resources consumed, produced and provided by identified participants, each respecting societal values and operating within an explicit framework of trust and governance” \[@bdva_data_sharing_spaces_interoperability_2023, p19\] While it relies on modern computer and data science, it is mainly a business and data regulatory innovation to foster cooperation among many "small" data owners in the era of big data.](png/dataspace/music_data_space.png)
### The case for a public-private partnership
While open data infrastructures are growing fast, we must bear in mind that private infrastructure is growing at an even faster scale. Last weekend, Europeana had 12,416 sound recordings that you could use without restrictions; altogether, 206,280 music sound recordings were made available over ten years. The same amount is made available with excellent intelligent recommenders and free listening options on Spotify every 2 days.
If we can find ways to connect private and public data infrastructures, the benefits are enormous for all cycles of data curation in public and private organisations, too. In some cases, we can save much cost, and in other cases we can enrich the data and build fantastic new public applications, like we plan to in music libraries.
To put the scale of PPP advantages in a different scope, if we placed the music we handle in Slovakia alone on Europeana in our project, we would double Europeana's music collection, even though the Slovak Republic accounts for only 1% of the European Union's population and music creation.
### The Slovak Case
- [x] Data coordination on national level: the Slovak Music Dataspace, including public and private data and knowledge owners;
- [x] Creation of the joint Slovak Comprehensive Music Database for better music recommendations;
- [x] Developing the Listen Local AI application family for more location-aware and more inclusive recommenders informed by intersectional data feminism practices.
The dataspace behind the SKCMDb brings together governance rules to exchange data with state-of-the-art technology among Slovak institutions, enterprises, music creators and music professionals. It is a consensual method to lower the cost of high-quality data for music. distribution, rights management, and documentation for future generations of audiences.
> A data space is an ecosystem of exchange, processing, sharing and provision of data between trusted partners, for a fee or not. It is not about copying or repatriating data centrally, but about ensuring that each data holder has full control over the conditions (e.g., who, when, and under what condition) of access to their data [@dataspace_for_cci_2022, p16].
In 2020 our feasibility study [@antal_promoting_slovak_2020] tried to understand why the Spotify recommender systems do not recommend Slovak music for Slovak people in Slovakia[^3]. Needless to say that behind this puzzle is a lot of bias in public music databases against an intersection of non-American, non-English-speaking, and of course, ethic minority of women artists. At the same time, we reviewed the 600 most played songs in the country to see what kind of data problems there were with their rights management--and found out that more than 50% of professionally managed songs had data problems that resulted in late or missed royalty payments.
[^3]: spotify-defense
{fig-align="center"}
The Slovak Comprehensive Music Database (SKCMDb) is a public database developed by SOZA, Music Center Slovakia and Reprex within the Open Music Europe[^4] research and innovation project funded by the European Union's Horizon Europe program, based on a Memorandum of Understanding signed with the Ministry of Culture[^5]. It is a public database supporting better promotion of music originating from Slovakia or created in the Slovak Republic at home and abroad.
[^4]: Open Music Europe (OpenMusE) – An Open, Scalable, Data-to-Policy Pipeline for European Music Ecosystems [@openmuse_2023].
[^5]: Memorandum of Understanding on utilizing the Open Policy Analysis results of the OpenMuse Research and Innovation Consortium in the context of Slovak cultural and creative industries and sectors' public policies [@open_music_europe_sk_mou_2023].
The data sharing and coordination mechanism behind the SKCMDb, i.e., the Slovak Music Dataspace, contains rules and agreements among institutions, people, and their IT systems to facilitate data exchange, to reduce the documentation costs of music distribution and rights management, and to combat misinformation about Slovak music that threatens the visibility or monetisation of Slovak content.
There are obvious ways how private and public data systems could help each other. Currently, private companies have far bigger datasets and digital libraries than public institutions, and has digitized practically all books, cinematic works, music, music sheets, and billions of photographs. However, they often rely on the knowledge stored in music libraries, on Wikipedia or other public knowledge. Such information exchange should be improved.
We must realise that due to the very long extension of the author's right (copyright) and neighboring right (sound recording right) protection terms, most knowledge carrier cultural objects that public research data systems want to use, such as books, journals, literary and music works, audiovisual material, architecture plans, and photographs currently have an effective copyright management term of around 130 years, or seventy years after the death of the last surviving rightsholder. They have an up-to-date name register, for example, because they must pay royalties monthly, quarterly or annually. They must ensure that a person receives monthly or annual royalties after a marriage or name change for another reason, or that the royalties keep flowing to heirs after the original rightsholder deceases. Synchronising these timely registers with public heritage namespaces would save costs and create a large value.
- [x] Following the example of the Luxembourg Shared Authority File and similar initiatives, we set up a Wikibase instance to coordinate definitions, vocabularies and title headings among the Hudobné centrum (IMIC, IAML affiliated), the Slovak National Library, and the music libraries of Slovakia. Like our colleagues in Luxembourg, this already requires a very thorough handling of personal data protection under GDPR.
- [x] We also connect to this shared authority control SOZA (CISAC affiliated). and data systems, and harmonize the data health checks and other work registry business processes of SOZA with the shared knowledge base. In this regard, we are crossing the boundaries between privately-held and pubic data.
{fig-align="center"}
- [x] We turn the SOZA (private) membership register into a music business satellite register for data coordination with the business registers of the Statistical Office of the Slovak Republic. This would allow a more targetted and improved implementation of the Slovak statistical data collection program in the field of music. Statistical data coordination can result in more complete registers which can improve the data curation for any type of census-like or sampled data collection. Statistics registers can identify every single music creator, entity the publishes music works, or releases sound recordings for the public [@slovak-cult-stat-pilot].
The data space is an exchange, processing, quality control, sharing and data provision system among trusted partners of the Slovak and global music sector. It is not a central database but a coordination tool to ensure that SOZA, Music Center Slovakia, the IAML Slovak music libraries, record labels, publishers, orchestras, bands and individual music creators can exchange data, information and knowledge efficiently.
### Innovation
#### Local music in the local business ecosystem
Our innovation partner, `HearDis!` is developing applications for brands with produce a better background music in their stores or other public venues in a content aware way. A premium brand should not only have its own music identity, but should also reflect on its urban environment, playing music that is associated with the surrounding city or neighborhood, and of course, giving visibility and royalty income for local artists. (Read [more](#wp4).)
#### Unlabel: public-private partnership to make label services competitive
Aloaded, Reprex, and Hudobné centrum are working on a new business concept, `Unlabel` which would provide limited label services in medium-income and future markets where commercial labels cannot provide the local artist community with for-profit and high-quality services. We would like to find ways to cooperate the costly investment into data documentation with public libraries, this way increasing the viability and attractiveness of future music library services, and improving the metadata quality of self-releasing artists and micro labels.
Our research shows that digital streaming providers are struggling to recommend Slovak music well. There are less data available about Slovak music than American, about female artists than male artists, and even less for local niches. This is not a music-specific
#### Affordable, high-quality integrated financial and sustainability reporting
- [x] Reprex is working on its Eviota system, which helps to produce affordable and high-value, simplified sustainability reports for music enterprises, unlocking access to green financing, green insurance, and cooperation with socially conscious brands.
### Technology
> “From a technical perspective, a data space can be seen as a data integration concept which does not require common database schemas and physical data integration, but is rather based on distributed data stores and integration on an »as needed« basis on a semantic level.” [@design_principles_data_spaces_2021, p7.]
- [x] An open data catalogue and map (which contains non-public data, too)
- [x] A joint vocabulary and dictionary to translate the legally and technically precise terms of the music business, rights management and education.
- [x] A precise description of data assets that both music professionals, their music databases and AI applications or other software agents can understand.
- [x] An open-source software ecosystem that connects data sources and adds the descriptions and vocabularies to the meaning of data.
- [x] An API that allows access in various human- and machine readable form to the public datasets
- [ ] An API or some other support to provide the technical possibility to exchange data among private data owners.
We strive to follow the best practices identified by the knowledge dissemination standard-setters, such as the `EU Open Data Portal`, the federations of copyright management, `Eurostat (ESS-Net)` and the `Statistical Data and Metadata eXchange`, the `European Open Science Cloud`, `Europeana`, the national and music libraries, the music archives, the Wikipedia ecosystem.
All these digital knowledge systems are now connected on the "data layer" of the internet, or in other words, on the semantic web. Our Digital Music Observatory uses the data standards of these organisations to be able to receive, exchange, and disseminate data in the same format as a business analyst would like to get it from Eurostat or a library user from their local or national music library.
### Interoperability
#### Information models
- `Datasets`: We follow the StatDCAT-AP data model, which is aiming to connect the global SDMX statistical information model, the global DCAT data catalogue specification with the DCAT-AP adoption for European open data. This allows that we use, reuse and enrich data from official statistical sources [^6].
- `Music objects`: in the case of music objects, such as music works, their performance, the recorded fixations (sound recordings) of performances, we use the information models of music libraries and the Europeana Data Model [^7].
- `Scientific results`: we follow the efforts of OpenAIRE and EOSC to make scientific results, for example, from our own Horizon Europe project (see later), more reusable and interoperable, particularly with creating a machine-actionable Data Management Plan.
- `Music databases`: We are experimenting with the use of the Polifonia Ontology Network for describing standardised music databases, such as the ones used within CISAC societies. We are in an exploratory phase to best connect to the processes of large European music stakeholders.
- `Wikidata`: We use Wikidata and Wikibase as a description and integrity negotiation and cross-linking tool.
[^6]: DCAT: Data Catalog Vocabulary [@DCAT_2020], SDMX: [@sdmx_information_model_v3].
[^7]: EDM: Europeana Data Model [@EDM_2017]
```{=html}
<!---
#### Vocabularies and ontologies
--->
```
#### Wikibase
In a European context, we consider using Wikidata and Wikibase for negotiating data among cultural organisations and connecting them to the EU Open Data Infrastructure as the existing best practice.
The use of Wikidata is getting more and more common among knowledge organisations and even EU organisations for the coordination of namespaces or authority files. Originally developed as a reconciliation tool for Wikipedia, Europeana already recognised its value for pan-European data harmonisation in 2015. Since then, several European countries have used it as a decentralised, curated, shared authority control system. We think that VIAF is the most suitable authority control, but the flexibility and functionality of Wikidata make it a worthy parallel system in itself [@bianchini_beyond_2021; @van_veen_wikidata_2019; @rossenova_wikidata_2022]. We reached out to the Wikimedia Foundation and WMSK, former official legal name Wikimedia Slovenská republika to not only use their open source product, i.e., Wikibase for authority control reconciliation but as a tool to push our knowledge and our namespace to the Wikidata. [@fagerving_wikidata_2023]
In terms of statistical data and indicators, we consider the best practice those "experimental statistics" that combine access to micro- and nano-level big data from government and business administration systems because they provide more timely, precise, granular and cheaper statistical data than surveys.
### Organisation
We want to go beyond the best practice in both contexts by coordinating data among both public and private entities. While there are very good examples in terms of retail sales, energy services, and some other areas to combine government and corporate data systems to create better consumer spending or household energy statistics, such experiments, to our knowledge, have not been successfully conducted in cultural and creative sectors.
The best coordination practices we reviewed by the EU Data Portal and Wikipedia usually involve coordinating only public data sources. Like in handling governmental and business statistical data and the coordination of both public and private sector data
## Open Music Europe {#ome}
{fig-align="center"}
::: callout-tip
#### Open Music Europe
According to the grant agreement's ambition, Open Music Europe "aims to contribute to the aim of creating a decentralised European intelligence hub where centralised data collection and analysis have failed in the music industry during the past 20 years. We envision the Open Data Observatory as a decentralised, complementary service to the ESSnet system (Eurostat and the national statistics offices) and the planned, centralised European Music Observatory." [^8]
:::
[^8]: Open Music Europe (OpenMusE) – An Open, Scalable, Data-to-Policy Pipeline for European Music Ecosystems [@openmuse_2023].
The specification of the Slovak Music dataspace follows the the recommendations of the expert group behind *Design Principles for Data Spaces* [@design_principles_data_spaces_2021, p26], as well as considering the definitions and recommendations of the *Dataspace for Cultural and Creative Industries* [@dataspace_for_cci_2022], and the scientific consensus described in *Dataspaces: Fundamentals, Principles, and Technique* [@curry_dataspaces_2020].
- [x] Data spaces should provide a framework for effective and efficient data exchange. This means they should allow for adoption of common APIs, data structure and security schemas, as well as adoption of information (data) models that can be represented in data formats compatible with adopted APIs, for the purpose of sharing and exchanging data.
- [x] Data spaces should provide a structure for trustworthiness in which data consumers and data providers. The dataspace partners build trust with common ethical values and with the disclosure and addressing of potential conflicts of interest, for example, among private and public institutions, composers, producers and performers. Partners increase trust with high data quality. They minimise biases by excluding groups of artists or genres of music. Data protection rules, including a clear interpretation of GDPR, ensure the balance between public interest and privacy concerns.
*SOZA, Music Center Slovakia, and Reprex have been working for months to refine a shared understanding of GDPR and data protection processes for the harmonised needs of collective rights management, music documentation and music education, in line with the statutes of SOZA and the public sector obligations of Music Center Slovakia. We start to inform music creators and initiate a discussion with institutions and individuals in February 2024.*
## Pillars of the Digital Music Observatory
::: callout-tip
The minimum viable product of the Open Music Observatory (OMO) is taken to TLR Level 7: system prototype demonstration in operational environment for Horizon Europe scientific research outputs, pan-European use by representative music stakeholders, and proven ability to scale up various pillars to further national environments. This means that the data and visualisation output from T1.2, T2.2, T3.2 and T4.2 are incepted as the new Music Economy Pillar (currently contains limited data), the Diversity Pillar (currently empty), the Music, Society and Citizenship Pillar (currently containing the proof of concept for harmonised CAP survey output), and the innovation Pillar (currently empty.)
:::
### Music Economy Pillar: Better Valuation (OME 1)
WP1 Economy of music in Europe will culminate in a pilot project conducted in Bulgaria, Hungary, and Slovakia by MUSICAUTOR, ARTISJUS, and SOZA. The WP1 pilot project will demonstrate the capacity of improved data to increase artist revenues within a short- to medium-term timeframe. This pilot project will directly build upon the results of CEEMID and other prior projects undertaken by ARTISJUS, SOZA, and REPREX. The partners will replicate a full market model used to measure the use of recorded music in Hungary and Slovakia, which included accurate estimates of zero-price uses. ARTISJUS and SOZA will revise and validate this full market model using fully standardised data, collected and harmonised via the OpenMusE music data software ecosystem.
These valuations will depend on standardised data from GESAC, CISAC, and potentially from IFPI, Aepo-Artis, and SCAPR or other organisations.
> Provide methodologies for capturing the economic and societal value of music
Expected outcomes:
- [x] Develop policy-relevant indicators for the total economic value of music
- [x] Develop new software for rendering fragmented, hidden, and unharmonised/unprocessed data usable
- [x] Develop new survey methods for capturing scarce data
- [x] Create and run novel valuation models that incorporate traditional paid uses, streaming, and zero-price music use (e.g., home copying, piracy)
- [x] Implement transferable pilot projects on music valuation (BG/HU)
### Music Diversity & Circulation (OME 2)
**WP2 Music diversity and circulation will culminate** in a pilot project conducted in Slovakia, Lithuania, Ukraine and Bulgaria by SOZA, MXF, MEU and MUSICAUTOR. The WP2 pilot project will demonstrate the feasibility of increasing local artist representation in radio and streaming, via trustworthy AI and evidence-based regulatory policy. In the “Listen Local” project, partners SOZA and REPREX created the Slovak Demo Music Database (SDMDb) as a reference database to measure the market share of Slovak music in radio and streaming, and created a prototype of a recommendation system that meets trustworthy AI criteria and is able to achieve similar cultural diversity goals as laid out by Slovak media legislation in 2015: i.e., to achieve 15% “Slovak” market share in radio playlists.
Expected outcomes:
- [x] Develop policy-relevant indicators for music diversity and circulation
- [x] Develop new software for rendering fragmented, hidden, and unharmonised/unprocessed data usable
- [x] Implement transferable pilot projects on diversity (SK)
> Develop indicators to better detect the performance of the European music sector and its contribution to economic and social development, as well as to sustainability
- Develop policy-relevant indicators for the societal impact of music, within an sustainable development goal (SDG) framework. Contact: Dr James Edwards, SINUS.
### Music, society, and citizenship (OME 3)
**WP3 Music, society, and citizenship** will culminate in a pilot project conducted in Italy by MIH. The WP3 pilot project will demonstrate the ability of reproducible research and innovation tools to help MSMEs comply with emerging social and environmental sustainability regulations, at a viable cost. Within the pilot project, MIH will utilise the OpenMusE open music data software ecosystem to create an environmental impact report---as will soon be required of many European MSMEs. For this, we will add new functionality to software that was originally developed for economic and environmental impact assessments for the Hungarian and Slovak Music Industry Reports. In addition, more detailed social and governance reporting will be carried out with MIH. As founders of the Keychange program for gender equality in music, MIH is dedicated to transferable piloting on environmental sustainability (covering greenhouse gas and water use at a minimum), social sustainability (focusing on the gender pay gap), and governance sustainability (focusing on live performance kickbacks and recorded performance payola schemes as corruption risks in the music industry). The environmental, social, and governance sustainability data collection will be piloted in Italy and transferred within the project lifespan to Bulgaria. As in the WP1 and WP2 pilot projects, the methods and software utilised will be fully open source, and thus open to, and replicable by, any national stakeholders who can collect the inputs required.
> Develop indicators to better detect the performance of the European music sector and its contribution to economic and social development, as well as to sustainability
- [x] Develop policy-relevant indicators for the societal impact of music, within an sustainable development goal (SDG) framework (Contact: Dr Caterina Sganga)
- [x] Implement transferable pilot projects on social and environmental sustainability (Contact: Music Innovation Hub, Milano, Italy.)
### Innovation and future trends (OME 4) {#wp4}
**WP4 Innovation and future trends** will culminate in a pilot project conducted in Germany and Italy by HEARDIS. The WP4 pilot project will demonstrate the use of improved metadata collection and trustworthy AI to create in-store playlists that reflect the diversity and robustness of local music scenes in cities in which particular stores are located.
> Promote standardised data collection about the music (sub-)sector(s) to measure the contribution of the EU music sector to the whole economy
- [x] Demonstrate new best practices on harmonisation of public data (e.g., Eurostat) and proprietary data (e.g., collective management organisation \[CMO\] data)
- [x] Create and run standardised enterprise surveys suitable for music MSMEs, that capture the contribution of small players to the economy
- [x] Create and run cultural access and participation surveys that contribute to understanding social and economic impacts, including analysis by sociodemographic group and values orientation
> Provide policymakers with effective tools for measuring and enhancing the impact of EU policy making.
- Develop the Open Music Observatory, an open-source data and analytics platform that continually reports disparate music data, with “plug-and-play” functionality vis-a-vis national databases
- Implement transferable pilot projects on technical innovation (DE)
- Release “live policy reports” and recommendations on Music Economy; Music Diversity and Circulation; Music, Society, and Citizenship; and Music Technology
> Provide an estimation of the impact of music participation to the society.
### Open Music Europe Software (OME4)
The Polifonia project used the eXtreme Design methodology complemented with some user-experience design concepts; this method utilises software design patterns and competency questions [@blomqvist_experimenting_2010; @blomqvist_engineering_2016].The eXtreme Design methdology itself is rooted in Ontology Design Patterns [@gangemi_ontology_2005], which is an adoptation of software design patterns to ontologies. The use of XD was particularly useful to us, because it had been applied in the he cultural heritage [@carriero_pattern-based_2021], and our beachhead market was the application of music heritage and rights management data.
The application of software design patterns is only sometimes straightforward in functional programming, as it aims mainly to provide a high-level overview of how objects and classes should interact. To retain the applicability of this methodology across the different layers of our software ecosystem, the new R packages developed in Open Music Europe are object-oriented, and they utilise the relatively simple but versatile s3 object-oriented class system of the R statistical ecosystem and language. This way we can document various functional and non-functional requirements in a standard way in the Open Music Europe project, and provide a simple checklist for the T4.3 which will test the usability of our tools. We needed very little modification in eXtreme Design: its original application for ontology design patterns described in the OWL/RDF metadata languages do not need a big "push" as our R packages are intended to put the coded knowledge from ontologies into work, i.e., improving database tables or stand-alone datasets for our internal and external stakeholders.
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