https://doi.org/10.14195/2182-7974_34_2_1
Organization and Representation of Musical
Information (ORMI) in Portugal:
a literature review
Organização e Representação da Informação
Musical (ORMI) em Portugal:
uma revisão de literatura
CARLOS GUARDADO DA SILVA
Centro de Estudos Clássicos, Faculdade de Letras, Universidade de Lisboa, Portugal
Contacto telefónico: 962451066
carlosguardado@campus.ul.pt
ORCID: 0000-0003-1490-8709
ANTÓNIO BAPTISTA
Faculdade de Letras, Universidade de Lisboa, Portugal
Contacto telefónico: 934801756
antoniopbaptista@campus.ul.pt
ORCID: 0000-0002-9185-6335
Artigo entregue em: 28 de setembro de 2021
Artigo aprovado em: 2 de novembro 2021
ABSTRACT
This article presents the results of a documentary research regarding the current
state of Organization and Representation of Musical Information (ORMI) in
Portugal. Many authors describe the national scene of ORMI as very shortcoming,
due to the usual difficulties: time vs. detail in the description and lack of
knowledge of musical language by the technicians Information professionals.
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A survey of the monographs and papers as of 2011 that make a critical
revision to the works of ORMI of several institutions was made, aiming to: 1)
perceive their current state and 2) understand its strengths and weaknesses.
We identified in these studies the analytic categories to create afterwards a
classification structure by disciplinary areas, which shows semantic, structural
and quality heterogeneity. The majority of Finding Aids are being produced
by musicology projects with structures that respond to their information
representation needs.
KEYWORDS: Organization and Representation of Information; Musical
Information; Finding Aids.
RESUMO
Este artigo apresenta os resultados de uma pesquisa documental sobre o
estado atual da Organização e Representação da Informação Musical (ORMI)
em Portugal. Muitos autores descrevem o cenário nacional da ORMI como
muito deficiente, devido às dificuldades habituais: tempo vs. detalhe na
descrição e falta de conhecimento da linguagem musical por parte dos
técnicos dos profissionais da informação.
Foi realizado um levantamento das monografias e artigos a partir de 2011 que
fazem uma revisão crítica dos trabalhos da ORMI de diversas instituições, com
o objetivo de: 1) perceber o seu estado atual e 2) compreender os seus pontos
fortes e fracos. Identificámos nesses estudos as categorias analíticas para
posteriormente criar uma estrutura de classificação por áreas disciplinares, as
quais mostram heterogeneidade de semântica, de estrutura e de qualidade.
A maioria dos Finding Aids tem sido produzida por projetos de musicologia com
estruturas que respondem às suas necessidades de representação de informação.
PALAVRAS-CHAVE: Organização e Representação da informação; Informação
Musical; Instrumentos de Acesso à Informação.
1.Introduction
This article presents a literature review aimed at consolidating the
knowledge on the state of the art about Organization and the Representation
of Musical Information (ORMI) in Portugal, considering the different typologies of collections. The goal is to provide an overview of what led to elaborate the analyzed studies, what problems they seek to solve, how, and the
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efficiency of their solutions. Thus, upcoming ORMI projects may use this
knowledge to decide more clearly which approach to take.
In Brazil there is a prolific production on this subject, especially with
articles by Lígia Café and Camila Barros, who want to “show a qualitative
and quantitative panorama of the studies on musical information at national and international level in the field of Information Organization” (2016:
107). However, in Portugal there are not many studies about the production
of musical information organization and representation by Portuguese authors.
Nevertheless, there is a Portuguese line of studies that reviews the state
of ORMI with two relevant contributions that date from 2005 and 2011.
Therefore, this article will focus on documents that approach the ORMI after
this later date. The year 2005 witnessed the presentation of the doctoral
thesis of the musicologist João Pedro d’Alvarenga who, despite not studying
ORMI, opens his musicological PhD thesis with the following statement:
“There is, I believe, no introduction or preface to a major historiographical work on music in Portugal that does not remarks both
the frailty and the scarcity of basic musicological research in our
country, benevolently explained by the ‘lack of a systematic synthetic reflection tradition’, which sustains the persistent ‘serious knowledge gaps’ in relation to certain historical-stylistic periods or to
certain repertories” (D’ALVARENGA, 2006: xi).
In 2011, the musicologists José Abreu and Paulo Estudante published
an article that elaborates a historical review of the cataloging and inventorying of the national musical sources, noting a still very deficient situation:
“it is striking that in 2011 the Portuguese scientific community does
not have a minimally accurate idea of the national musical heritage.
At the beginning of the second decade of the 21st century, Portugal
does not have a catalog (or even an inventory) of nationally curated
musical sources, irrespective of the chronological period” (ABREU
& ESTUDANTE, 2011: 81–82).
The Diccionario Enciclopédico de Ciencias de la Documentación defines
Information Representation (IR) as a set of processes, both intellectual and
technical, whereby “an intelligent entity - the representator or agent - extracts
relevant information of a part of the reality - that is, the domain - and
materializes it on another part of the outside world - called the field of
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representation” (LOPEZ YEPES, 2004: 404). This information may be musical
or not, depending on the definition of the musical adjective itself, as something
“which refers to music” (Musical, 2019). A broad term is necessary to
understand that the object of study of Musicology includes much more than
just printed or recorded music. It is a multifaceted subject that needs a
transdisciplinary view, and a non-lesser part of its information is only musical
through a relation in the sense of Luciana Duranti’s archival bond (1997),
as an important source for the History of any music (of any ethnicity) that
must be taken into account.
Taking this into account, the computerization issues of musical information representation has had a great technological development in the last
decades. Thus some authors believe that, if the description tasks were only
concerned with capturing the information in the documents to elaborate
Finding Aids (in the form of guides, inventories and catalogs), the information
and communication technologies (ICT) allowed to “dissociate the concept of
description from the concept of search [… and] facilitate knowledge society
users to retrieve, access and use information” (LLANES PADRÓN et al., 2015:
4–5). These concerns can be noticed in the creation of technological direct
responses to user demands of Music Information Retrieval such as query by
humming, search by sound, acoustic fingerprinting, and others. Technologies
that have many analogies with the response that Optical Characters Recognition
give to user demands in electronic queries.
2.Methodology
A survey of monographs and papers post-2011 was carried out, since
the article of Abreu and Estudante presents a review of the prior ORMI studies. We started this study with the following research question:
What problems and solutions have been addressed by academic
works, between 2012 and 2019, regarding the Organization and
Representation of Musical Information, in Portugal?
We set out from the meaning of Knowledge as one of the Janus-face, being
the other Information, which characterizes the information society in practice.
In order to answer this question, we chose the “Documentary analysis” method
(BOWEN, 2009: 27, 29), which allowed us to obtain a solid description of a
phenomenon (STAKE, 1995; YIN, 2010) starting with the identification, selection,
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data collection and verification (research heuristics). It also allowed collecting
interpretations in different written sources, in physical or digital formats, to give
them meaning (hermeneutics of research), with the purpose of developing
empirical knowledge (BOWEN, 2009: 27; CORBIN & STRAUSS, 2008). Thus, the
documentary analysis presents itself as a method of “systematic and objective
research, evaluation and synthesis of evidence in order to establish facts and
draw conclusions” about events (BORG (1963) apud SOUSA, 2005: 88).
A search was carried out in several repositories, namely the RCAAP
portal, an aggregator of the Open Access Scientific Repositories of Portugal
(in Portuguese, Repositório Científico de Acesso Aberto de Portugal), and
the Online Knowledge Library (B-On), which aggregates nationally commercial subscriptions with various scientific publishers. The terms “Catalog* AND
music*” or “music*” were used, and the research focused on musical cataloging in Portuguese academic works after 2011, especially in the subject
area of Information Science. The search was conducted on 23 th March of
2019, obtaining a total of 88 results in B-On, and 66 results in RCAAP. From
these results we excluded studies repetition in both databases, studies that
focused solely on the Organization and Representation of Information and
studies that focused solely on the Musical Information. Thus, a final corpus
of 23 documents that focused on the ORMI was selected, according to an
inductive qualitative analysis to assess if they focus ORMI as a scientific and
technical approach. We identified in these studies the analytic categories to
create afterwards a classification structure by disciplinary areas.
2.1. Finding Aids
This study positions the Heritage institutions – Archives, libraries, and
museums - as information sources per se, as a place. Through this, it circumscribes to two types of information sources: The Finding Aids even when they
integrate editions or studies of another nature, and the information accumulated in the places. They are instruments of mediation between real or potential users, and documentary information recorded on various physical media.
This is also an institutional mediation that places the archivist, librarian
or museologist at the center of the mediation of the Heritage institution in
the social sphere (SILVA & RIBEIRO, 2010: 83–84). Its role as mediator is
present precisely in the Finding Aids - Guides, Inventories, Catalogs, online
databases, among others. In them, users in growing numbers can create
their own Finding Aids according to their needs. It is based on them that
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the user makes choices, decides to read them, or excludes them from their
research, and the quality of the classification frameworks that structure the
organization of knowledge is crucial, as is the quality of descriptions, summaries and terms used in the natural or controlled language.
The main typologies of Finding Aids present in the final corpus of our
research correspond to Catalogs and Inventories. But the instruments do not
always relate to the typology and objective that the authors wish to fulfill.
3.Works of ORMI prior to 2011
As we have stated earlier, the most recent review of ORMI’s history and
state of art is the article A propósito dos livros de polifonia impressa existentes
na Biblioteca Geral da Universidade de Coimbra: uma homenagem ao musicólogo pioneiro Manuel Joaquim, of José Abreu and Paulo Estudante (2011). It
presents the cataloging of musical sources, especially before 1800, their
entities and the dates of the works and the financial or human reasons of
their incompleteness.
One of the main initiatives of this cataloging movement came from the
Commission of Musicology of the Music Service of the Calouste Gulbenkian
Foundation (FCG) (in Portuguese, Fundação Calouste Gulbenkian), created
in 1958, with the scientific orientation of the musicologist Macário Santiago
Kastner. The institutions where this philological work of musical sources was
made were the archives of the key Portuguese cathedrals with the greatest
musical activity, as well as the public libraries which obtained the assets of
religious institutions in 1834, after the religious orders were extinguished in
Portugal. The institutions list is the following:
“- Biblioteca Pública de Braga,
- Arquivo da Sé de Viseu,
- Arquivo Distrital da Viseu,
- Arquivo da Sé de Lamego,
- Biblioteca Geral da Universidade de Coimbra,
- Arquivo da Sé de Évora,
- Arquivo Distrital de Évora,
- Biblioteca Pública de Évora,
- Academia de Ciências de Lisboa,
- Arquivo Musical da Fábrica da Sé Patriarcal de Lisboa,
- Biblioteca Nacional de Lisboa,
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- Biblioteca do Palácio Nacional de Mafra,
- Biblioteca Pública Municipal do Porto,
- Biblioteca do Paço Ducal de Vila Viçosa” (ABREU & ESTUDANTE,
2011: 84).
The ambitious project that set out to inventory the musical heritage in
fourteen institutions, resulted only in four published catalogs and some
inventories (some partial) that became as internal documents in some archival fonds (ABREU & ESTUDANTE, 2011: 83).
But these initiatives were abandoned due to a general misconception
that musicological science had concluded its philological phase. Abreu and
Estudante state that in the mid ‘80s
“The “philological phase” of the Portuguese Musicology is considered outdated and even gains a derogatory connotation”. And
they did it to “answer to an international agenda with works of an
interpretative or reflexive kind, without, however, having the real
foundations of a deep knowledge of our archives (be it musical
sources or documentary sources on musical institutions)” (ABREU
& ESTUDANTE, 2011: 86).
Abreu and Estudante not only make an historical presentation of the
philological treatment initiatives of musical holdings in Portugal, but they
criticize this same state:
“In 2011, the Portuguese scientific community does not have a
minimally accurate idea of the national musical heritage. At the
beginning of the second decade of the 21st century, Portugal does
not have a catalog (or even an inventory) of nationally kept, maintained,
stored musical sources, whatever the chronological period considered”
(ABREU & ESTUDANTE, 2011: 81–82).
4.Results and analysis
In our final corpus, the qualitative analysis concerning the formation of
the first author reveals that the ORMI is found in authors of musicological
formation (11), in musicians (4), music teachers (4), historians (1), museologists (1) and library and information scientists (1).
Boletim do Arquivo da Universidade de Coimbra, XXXIV-2 [2021], pp. 11-26
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Source: Elaborated by the authors.
Graphic 1 shows that while in the area of music performance and teaching the works occur as a result of the final
higher education studies, the majority of musicologists author’s work are abstracts or communications or presentations supporting materials, in symposia or congresses.
A consideration of those catalogs made by musicologists showcases two
works that share both the institution and the subject. The first is a paper
published in a journal, made by José Abreu and Paulo Estudante, researchers
at the Center for Classical and Humanistic Studies (CECH) (in Portuguese,
Centro de Estudos Clássicos e Humanísticos) of the University of Coimbra. They
both lead the project Mundos e Fundos. Mundos Metodológico e Interpretativo
dos Fundos Musicais at the CECH, that focus on making a “survey of musical
sources, their study and respective critical edition” (UCOIMBRA, 2018). The
second document is Sara Dacal Crespo’s master’s dissertation, presented at
the University of Coimbra and supervised by Abreu and Estudante.
Their brief description of the collection of printed books of the 16th and
17th centuries and tables with the works’ catalog of the three typologies
documents: choir books, part books and instrumental music books (ABREU
& ESTUDANTE, 2011: 98–99), was continued with a narrower focus in the
catalog presented in Sara Dacal’s dissertation. Focusing only in the part books,
Dacal’s catalog followed a model published in 2009 by the musicologist Tess
Knighton, with some modifications due to the particular characteristics of
the collection (CRESPO, 2019: 59).
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We were also able to find works that present catalogs of an institutions’
musical collection and make them available in open access online databases.
This way to disseminate results of research projects that perform cataloging
and indexing tasks of musical works has shown to be relevant in the Finding
Aids, since there is a greater tendency in its use to fulfill open science criteria. This is a direct consequence of the Portuguese integration in the
“European Plan S” initiative promoted by Science Europe, in particular by
establishing the principle that the results of research funded through public
funds should be available in immediate open access” (FCT, 2018) by the
Portuguese Ministry of Science, Technology and Higher Education and the
Science and Technology Foundation (FCT) (in Portuguese, Fundação para a
Ciência e a Tecnologia), through Council of Ministers Resolution No. 21/2016.
An example of that is Cátia Silva’s master dissertation: a Report on the
project Arouca’s Monastery Historical Collection - recovery and cataloging:
report and case study. It results from a partnership between the monastery’s
Royal Brotherhood of Queen Santa Mafalda (in Portuguese, Real Irmandade
da Rainha Santa Mafalda), the Center for Studies in Sociology and Musical
Aesthetics (CESEM) and the Institute of Ethnomusicology - Center for Studies
in Music and Dance (INET - md). The projects design and coordination was
aimed at the iniciative Recuperação, Tratamento e Organização de Arquivos
Documentais of FCG, whose objective is to “financially support institutions
that somehow have in common the safeguarding and dissemination of cultural heritage” (SILVA, 2017: 21). From the project, a catalog was immediately available in a database located on the Universidade Nova de Lisboa’s
server and some sources are included in the Portuguese Early Music Database
(FERREIRA et al., 2010). The first database was created to contain the catalog of the collection consisting of “documents dating from the 13th and
20th centuries, which includes manuscripts, manuscript fragments, printed
books (including incunabula), and various documents (periodicals, engravings, drawings and postcard albums)” (FERREIRA, 2016). But alas, we realized
that this database does not include musical information about the sources,
leaving the ORMI works only for the Portuguese Early Music Database:
description and “indexing that allows the integration of cantus with other
digital platforms, such as the Cantus Index and Cantus databases” (SILVA,
2017: 37), from the University of Waterloo.
However, catalogs also emerged from non-musicologist projects works,
and this study was able to find a catalog presented by someone trained in
Documentation and Information Science. Luísa Maria Marques, a librarian
at the Instituto Politécnico de Lisboa - Escola Superior de Teatro e Cinema
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(ESTC), presented it at a congress of the Portuguese Association of Librarians,
Archivists and Documentalists (BAD) (in Portuguese, Associação Portuguesa
de Bibliotecários, Arquivistas, Profissionais da Informação e Documentação):
“The conservation project supported by the Calouste Gulbenkian
Foundation [that] allowed 812 of [Handwritten plays] (18 th -19 th
centuries) to be digitized and all bibliographic information inserted
in the online catalog of the ESTC Library, with full or partial access
to the digital document” (MARQUES, 2016: 44).
This catalog is musically relevant considering that the music-theatrical
spectacle, such as opera and “musical spectacles, of a serious or jocular sort,
mostly translated and adapted to the Portuguese scene” (MARQUES, 2016:
46), abounded in this period.
Another musical information catalog is Ana Helena Jerónimo’s master
dissertation on Heritage studies, in 2018. The author studies the private collection of Luís Cangueiro that was “accessible to the public in 2016, with its
installation in the Mechanical Music Museum, built by the collector at its
property in Arraiados, Palmela” (JERÓNIMO, 2018: iii). Ana Jerónimo, working in the area of museology, elaborates a Finding Aid that she calls an inventory because it gives an account of the existences of the collection, but the
elaborated tool, taking into account the definition of the area of Documentation
and Information Science, is a catalog because it makes a detailed description
of each document.
Although limited by the impossibility of analyzing the whole collection
due to its large size, it organizes the musical instruments by the different
classes of parts of the target collection. These classes are grouped into two
supercategories according to the inventory standards accompanying the Programa
Matrix elaborated by the Direção-Geral do Património Cultural (JERÓNIMO,
2018: footnote 44). In addition, it also produces a catalog of the musical pieces
reproduced by the automatophones, having identified “91 musical registers,
of which 46 belong to operas and operettas” (JERÓNIMO, 2018: 109).
Finally, it is important to mention the eight recovered catalogues in
works of master dissertations or doctoral theses in the area of music, in the
area of expertise of interpretation or music education. We bring them together
because there is a common idea through the various works: the desire to
value the music of Portuguese composers. In the field of music education,
this is done through the dissertations that intend to create a catalog for the
teaching of musical instruments (ARAÚJO, 2018; MOREIRA, 2015; TOMÁS,
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2016); the final higher education works of musicians intend to create a
catalog of Portuguese music for their instruments (ALVES, 2015; FARIA,
2018). But it is in this works that we find a greater disparity in the quality
and the fulfillment of the objective of creating an Finding Aid that allows a
quick and easy query and retrieval (ALVES, 2015: 13) in response to a general
feeling of “scarcity of bibliography and dispersion of information about
Portuguese music that [concerning almost any instrument] hinders its knowledge
and its dissemination” (ALVES, 2015: i).
In fact, this study finds that the musicians’ formation is lacking a methodological background for a scientific work, which can be one of the major
issues for these problems. The key point of Information Access falls far short
in works such as Joana Moreira’s, since there is a vast and undefined list of
sources used to create the list of works with no association of each title to
a specific source. Ana Araújo’s catalogue is also an example of those difficulties, since most of the works are in private collections.
4.1.Theoretic studies of ORMI
The subject of the ORMI is not confined to the contributions for the
elaboration of Finding Aids. In fact, this study found a theoretical approach
to this problem an interdisciplinary paper between Maria João Albuquerque,
a “doctorate in Information Sciences, from the Universidad Complutense de
Madrid, Integrated Researcher at Instituto de Etnomusicologia - Centro de
Estudos em Música e Dança where she furthered studies in the field of
information curation and in the area of musical documentation, namely on
musical editing” (INET-md, 2018); and Helena Sofia Pinto and José Borbinha,
who have developed relevant work in Information Science in the area of
ontology and information management, respectively.
Their paper analyzes the “recently developed most significant music
ontologies, in view to their possible reuse for creating an ontology”
(ALBUQUERQUE, PINTO & BORBINHA, 2018: 2) applied to a project that
aims to build a “database that gathers the results from research studies
in musical archives” (ALBUQUERQUE, PINTO & BORBINHA, 2018: 2).
The authors’ state an “enormous structural and semantic heterogeneity in the representation of musical information in catalogs of libraries,
archives and museums, in databases of universities and R & D centers, as
well as databases containing digital musical information” (ALBUQUERQUE,
PINTO & BORBINHA, 2018: 1), that highlights the importance of creating a
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database that ensures a “flexible management of the concepts used in the
representation of this domain and its relations, and subsequently allow its
sharing with other databases” (ALBUQUERQUE, PINTO & BORBINHA, 2018:
1). As far as the authors are concerned, “as opposed to information schemas
that typically define the structure of relational databases, information systems using ontologies in your knowledge base may have more flexibility”
(ALBUQUERQUE, PINTO & BORBINHA, 2018: 1–2) allowing interoperability
between databases.
But the problem of the organization of this type of information is
related to the very nature of the Musical Work, and that an unlimited set of
Expressions can “coexist for the same Work, such as Variations, Arrangements,
Transcriptions, Orchestrations, etc., which can be described differently”
(ALBUQUERQUE, PINTO & BORBINHA, 2018: 2), besides the performances
and their records, “which can lead to the construction of several Expressions”
(ALBUQUERQUE, PINTO & BORBINHA, 2018: 2).
Thus, Albuquerque et alia make brief considerations about the musical
work in FRBR (Functional Requirements for Bibliographic Records), in RISM
(Répertoire International des Sources Musicales) and BIBFRAME of the Library
of Congress, and they state:
“While standards promoting organizations for the bibliographic
description of music, such as IFLA or RISM, or the IAML (International
Association of Music Libraries, Archives and Documentation Centers)
seek to find solutions that guarantee homogeneity in the description
of musical content information, the same can be said of the various
projects that have emerged under the name of Music Information
Retrieval (MIR), and Music Data Mining (MDM), some published by
International Society Music Information Retrieval, seeking to develop tools and apply automatic techniques for retrieving musical
information” (2018: 3).
But the paper is particularly interesting for the profound analysis it
presents concerning four ontologies:
“The (1) Musical Ontology framework uses the ontologies Event e
FRBR, which can be used to describe the relationship between the Creator
and the Work.
BNF developed the ontology (2) DOREMUS, based on the model
FRBRoo and the CIDOC-CRM, in which the notion of event is central
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and where the concept of Complex Work is fundamental for the
description of the various creative agents of the musical work.
(3) MusicNote Ontology uses a hierarchical organization of the
score constituent elements, proposing an analytical model of the
digital scores.
Finally, the (4) Performed Music Ontology intends to be an extension of the BIBFRAME model, introducing the concept of Performance
Medium, which distinguishes the original work from the interpreted
version, two fundamental concepts to define the various creative
subjects of musical work” (ALBUQUERQUE, PINTO & BORBINHA,
2018: 9).
Conclusion
As this study expected, the standard and guidelines basis for the ORMI
are not shortcoming. In fact, one of the main issues is clearly the semantic
and structural heterogeneity that still endures in the ORMI works. Since the
majority of catalogs and databases are being produced by musicology projects financed by the Portuguese FCT, their specific criteria of musicological
knowledge continue to impel them to structures that respond to their information representation needs. The Portuguese Early Music database is a clear
case of this need to represent relevant early music information. And although
it is a structure that communicates with the Cantus Index and Cantus databases from the University of Waterloo (SILVA, 2017: 37), which is also powered by other eight early music databases, these ontologies do not correspond,
nor pretend to communicate, to a LIS language.
Although these issues are not consensual within the scope of Information
Science, works such as the one of Maria João Albuquerque et alia show that
in Portugal there is ongoing research and reflection concerning the standards
and methodologies to be adopted. However, it is not foreseen to emerge in
the near future a standard that will respond to the needs of ORMI of each
music epoque or genre, resulting often in adaptations of existing ontology
structures to their musical information (ALBUQUERQUE, PINTO & BORBINHA,
2018), or the creations of new ones (FERREIRA et al., 2010), or the ongoing
adaptation of the music information to existing LIS ontology structures
(ASSUNÇÃO, 2005: 144).
As one may expect, some of these online database works (SILVA,
2017: 21) that result from projects financed for a limited time may have
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the risk of not having a digital preservation plan (VOUTSSAS M., 2013:
108) and, being born-digital databases, the Finding Aids can disappear
along the website if there is no more funding to support a paid database server.
It is further understandable that Heritage institutions already have a
policy of ORMI, even if their policy is not to follow any controlled language
or norms, and to change that policy would most certainly result in a system
entropy. But while there is research within the field of Documentation and
Information Science trying to increase the interoperability between the
standardized structures, there are many who, without training in the field,
are making efforts to organize and disseminate musical information in a way
that Abreu and Estudante classify as “isolated impulses over the last few
decades being essentially the work of a single person” (2011: 118). Examples
of this are the works of most musicians and music teachers which do not
result in the change of the curricula of the conservatories in Portugal, nor
in changes of higher education’s repertoire for admission auditions in music
studies, nor in catalogs with easy access to musical pieces originated from
Portuguese authors for a certain musical instrument.
On the other hand, the Finding Aids developed by the research projects
in Musicology R & D Centers demonstrates the concern to use correct
documentary languages, although the state of art denotes that there is still
a long way to go towards the interdisciplinarity between Information Science
and Musicology. Still, the next steps to improve the situation of ORMI in
Portugal must necessarily be made through an interdisciplinary path in both
directions: the inclusion of LIS scientists in musicological projects that help
determine which Finding Aids to elaborate and how, and the consultation
of musicologists’ expertise of musical language and knowledge description
tools by the librarians, archivists and museologists in Portugal.
While doing so, it is possible that the future of musical documentary
languages will continue to go through a heterogeneous path due to an
amalgamate of circumstances. One could see this path much like the
computer programming languages’ path: the creation of languages that
allow a technical response to solve a list of problems (HOPPER, 1978:
10–11), the adaptation of former languages to solve a new lists of problems
(counting with the technological development) (MAHONEY, 1996: 775–776),
the emergence of both general-purpose and domain-specific oriented
languages, and, probably the most important, the result of a language’s
marketing allowing it to thrive or not in the society (MAHONEY, 1996:
775–776).
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