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The segment ontology: Bridging music-generic and domain-specific.

, , , and . ICME, page 1-6. IEEE Computer Society, (2011)

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On hyperstructure and musical structure., , , , and . Hypertext, page 95-104. ACM, (2002)Digital Music Objects: Research Objects for Music., , , , , and . RO, (2018)A Toolkit for Live Annotation of Opera Performance: Experiences Capturing Wagner's Ring Cycle., , , , , , and . ISMIR, page 211-217. (2015)Design of a dynamic and self-adapting system, supported with artificial intelligence, machine learning and real-time intelligence for predictive cyber risk analytics., , , , , , , , , and 1 other author(s). CoRR, (2020)The Industrial Internet of Things in the Industry 4.0 supply chains: literature review and future trends., , , , , , , and . CoRR, (2019)Capturing the workflows of music information retrieval for repeatability and reuse., , , , and . J. Intell. Inf. Syst., 41 (3): 435-459 (2013)Hello cleveland! Linked data publication of live music archives., , and . WIAMIS, page 1-4. IEEE, (2013)Observing Social Machines Part 2: How to Observe?, , , , and . WebSci, page 13:1-13:5. ACM, (2015)The Pipeline of Enrichment: Supporting Link Creation for Continuous Media., , , , , , and . OHS-7/SC-3/AH-3, volume 2266 of Lecture Notes in Computer Science, page 47-58. Springer, (2001)Cyber risk at the edge: current and future trends on cyber risk analytics and artificial intelligence in the industrial internet of things and industry 4.0 supply chains., , , , , , , and . Cybersecur., 3 (1): 13 (2020)