Problematic CQs

At the current stage, some competency questions still need to be refined. This page provides an overview of those requiring more attention, and will be updated as soon as changes are made to the stories/CQs.

Known issues

At the moment, we are using a simple taxonomy for possible inconsistencies in the competency questions. However, this does not provide a full check-up of a CQ, which can still be ill-formulated despite passing our preliminary checks.

In the table below, you will find a list "problematic CQs" where the last column uses a list of tags to describe the type of inconsistency. Current tags include:

• incomplete if the CQ is not formulated as an actual question ("?" is missing);
• to-split if more questions are identified within the same CQ (too many "?"s);
• complex whenever a CQ uses lists, or other sub-statements (potentially to-split);
• hard is more of a warning rather than an error, and is currently raised when using more than 120 characters.

The latest full version of the table is reported below, and is also available for download at this link.

persona	story	id	cq	issues
Paul	1_OrganComparison	CQ1	Retrieve all organs at location X.	['incomplete']
Paul	1_OrganComparison	CQ2	Retrieve all organs in city X.	['incomplete']
Paul	1_OrganComparison	CQ3	Retrieve all organs near to geographic coordinates x, y.	['incomplete']
Paul	1_OrganComparison	CQ4	Retrieve all organs that have stop X.	['incomplete']
Paul	1_OrganComparison	CQ5	Retrieve all organs with playing aid X.	['incomplete']
Paul	1_OrganComparison	CQ6	Retrieve all organs with more than X stops.	['incomplete']
Paul	1_OrganComparison	CQ7	Retrieve all organs with more than X keyboards.	['incomplete']
Paul	1_OrganComparison	CQ8	Retrieve all organs with manual range starting lower than X.	['incomplete']
Paul	1_OrganComparison	CQ9	Retrieve all organs with manual range ending higher than X.	['incomplete']
Paul	1_OrganComparison	CQ10	Retrieve all organs with pedal range starting lower than X.	['incomplete']
Paul	1_OrganComparison	CQ11	Retrieve all organs with pedal range ending higher than X.	['incomplete']
Paul	1_OrganComparison	CQ12	Retrieve all organs with wind system type X.	['incomplete']
Paul	1_OrganComparison	CQ13	Retrieve all organs with temperament X.	['incomplete']
Paul	1_OrganComparison	CQ14	Retrieve all organs with year of construction after X.	['incomplete']
Paul	1_OrganComparison	CQ15	Retrieve all organs with year of construction before X.	['incomplete']
Paul	1_OrganComparison	CQ16	Retrieve all organs built by organ builder X.	['incomplete']
Paul	1_OrganComparison	CQ17	Retrieve all organs which has been maintained or restored by builder X.	['incomplete']
Paul	1_OrganComparison	CQ18	Retrieve all organs that are linked to person X.	['incomplete']
Paul	1_OrganComparison	CQ19	Retrieve all organs with more than X bellows.	['incomplete']
Paul	1_OrganComparison	CQ20	Retrieve all organs with pitch heigher than X Hz.	['incomplete']
Paul	1_OrganComparison	CQ21	Retrieve all organs with wind pressure higher than X mm.	['incomplete']
Paul	1_OrganComparison	CQ22	Retrieve all organs with wind pressure lower than X mm.	['incomplete']
Paul	1_OrganComparison	CQ23	Retrieve all organs with key action type X.	['incomplete']
Paul	1_OrganComparison	CQ24	Retrieve all organs with stop action type X.	['incomplete']
Paul	1_OrganComparison	CQ25	Retrieve all organs with pitch lower than X Hz.	['incomplete']
Paul	1_OrganComparison	CQ26	Retrieve all organs with console location X.	['incomplete']
Paul	1_OrganComparison	CQ27	Retrieve all organs based on search term X.	['incomplete']
Paul	1_OrganComparison	CQ62	Retrieve all organs that have components made by organ builder X.	['incomplete']
Jorge	1_OrganizeMyLibrary	CQ2	Is my collections and subcollections organisation based on clear concepts (e.g., genre, composer, period...) to gather Opuses ?	['hard']
Jorge	1_OrganizeMyLibrary	CQ5	Identify the dimensions and/or features that are relevant to support an on-the-fly reorganization of the digital library, whenever the standard organization does not meet the user's expectations	['incomplete', 'hard']
Jorge	4_LinkToSources	CQ3	Can I link fragments of sources and fragments of scores, such as for instance a measure in an Opus with a part of a reecording ?	['hard']
William	1_EuropeanFolkMusic	CQ7	What are the relations between the relevant countries, compositions, composers and performers in the various collections?	['hard']
William	1_EuropeanFolkMusic	CQ8	How have the relations between the relevant countries, compositions, composers and performers in the various collections changed over time?	['hard']
Ortenz	1_MusicAndChildhood	CQ1	CQ1. What is the difference between the ‘official’ perception of the role of music and how music is experienced?	['to-split', 'complex', 'hard']
			* What are the aspects that characterize an official source? E.g. context of production, creator’s role, relation between the source and political or national events
			* What are the official sources? What are the sources produced by ordinary people?
			* What are the aspects that characterize the source at hand as trustworthy? E.g. context of production, creator’s occupation
			* What are the goals of the source?
			* What is the emotional response of music listeners/authors in both types of sources?
Ortenz	1_MusicAndChildhood	CQ2	CQ2. How is music used to teach children about identity and heritage?	['to-split', 'complex', 'hard']
			* In which source there is evidence of children as target audience and music as subject?
			* What are the subjects of the source?
			* What are the subjects that are related to national identity?
			* What are the subjects that are related to national heritage?
			* When was the source produced?
			* Where was the source produced?
			* Who produced the source?
			* What type of source is it? E.g. Literary text, painting
			* What is the context of production of the source? E.g. academic, official source, personal or primary source, commission to an artist
			* Are there related events connected to the production of the source? E.g. national fests, war period, political or historical events
			* What is context of usage of the source? E.g. propaganda, personal account, review of an event, teaching
			* How subjects/goals/contexts of usage change over time?
Ortenz	2_MusicalSocialNetwork	CQ1	What places did muciain Z visited in her career?	['to-split', 'complex']
			* Where did she perform?
			* Where did she live?
Ortenz	2_MusicalSocialNetwork	CQ2	Did musician X and performer Y ever met? Where, when, and why?	['to-split']
Ortenz	2_MusicalSocialNetwork	CQ3	In what context the meeting happend?	['to-split', 'complex', 'hard']
			* What is the nature of the event?
			* Was it a celebration, a festival, a private event?
			* Was it a religious or a secolar event?
			* Who paid to support the event?
Ortenz	2_MusicalSocialNetwork	CQ4	What is the provenance of the event attendees? What and how they happened to be there?	['to-split', 'complex', 'hard']
			* Did they travel to reach the place?
			* Where they invited? Was the meeting accidental?
Mark	1_FolkMusic	CQ6	Retrieve all known concordances (same composition/tune in another source).	['incomplete']
Mark	1_FolkMusic	CQ14	Retrieve all compositions that are in source X.	['incomplete']
Mark	1_FolkMusic	CQ34	What patterns are overrepresented in corpus X compared to corpus Y?	['complex', 'hard']
			## Resources
			Mark works with:
			RISM index of musical sources, composers etc https://opac.rism.info/main-menu-/kachelmenu with the ability to search on names and music
			NEUMA, a digital library of musical scores http://neuma.huma-num.fr/home/presentation
			ABC notation database http://abcnotation.com/
			Database of Dutch tunes http://www.liederenban.nl and http://www.liederebank.nl/mtc
			Early American Secular Music and its European sources http://www.cdss.org/elibrary/Easmes/Index.htm
			Mark’s work could be helped by:
			Connection to other databases, so that he could automatically query a range of databases
			## Remarks
			Requirements for UI:
			- visualize changes in musical style over time, e.g. transition from modal to tonal (evolution curves - see Weiss et al. 2018 ‘Investigating style evolution of Western classical music: A computational approach’) - with zooming
			- visualize interconnections, e.g. of tunes which share melodic patterns or geographical origin.
			- vizualize the circulation of certain repertoires (e.g. Italian opera).
			Previous set of CQs. These are quite abstract, but not yet all covered by the set of CQs in the section above.
Mark	1_FolkMusic	CQ1	Can we identify a tune (e.g. from an oral tradition) in our collection with music in another documented collection, e.g. RISM, NEUMA, ABC	['incomplete', 'hard']
Mark	1_FolkMusic	CQ2	Can we compare music from different collections, e.g. from different countries to show connections/influences between musical styles?	['hard']
Mark	1_FolkMusic	CQ3	Can we compare music longitudinally, e.g. to see evolution of tonality and transition from modal to tonal? Working either at manuscript of collection level.	['hard']
Mark	1_FolkMusic	CQ4	Can we visualize changes in musical style over time, e.g. transition from modal to tonal (evolution curves - see Weiss et al. 2018 ‘Investigating style evolution of Western classical music: A computational approach’) - with zooming	['incomplete', 'hard']
Sophia	1_MusiciansAndTheirEnvironment	CQ1	CQ1. What was the composer’s network (patrons, institutions …)?	['to-split', 'complex', 'hard']
			* What is the “intellectual framework” of a musician? which explains why certain music was played and how it was played
			* What is the time relationship between different musicians, e.g. who was working at the same time?
			* What relationships exist between institutions, e.g. employment of the same musicians; and between people and institutions, e.g. between a number of composers and a printer?
Sophia	2_OriginsAndForm	CQ1	CQ1. What parallels are there between the composition of music and the use of language, e.g. in the use of rhetorical delivery?	['to-split', 'complex', 'hard']
			* What rhetorical strategies are used in a piece of music?
Sophia	2_OriginsAndForm	CQ2	CQ2. Why was a piece of music written to be evocative of something, e.g. the call of a cuckoo?	['to-split', 'complex', 'hard']
			* What does music evoke?
Sophia	2_OriginsAndForm	CQ5	CQ5. In early written music, what is left of the preceding unwritten tradition?	['to-split', 'complex', 'hard']
			* What are the sources the musician used?
			* What sources, musicians, traditions influenced the musician?
Sophia	2_OriginsAndForm	CQ6	CQ6. How does the corpus of a composer compare with that of other composers, particularly those writing at the same time?	['to-split', 'complex', 'hard']
			* What are the similarities? motifs, harmony, texts
Sophia	2_OriginsAndForm	CQ7	CQ7. Can we use a statistical comparison, or a particular ‘thumbprint’ in the music, to identify the composer of a piece of music?	['hard']
Sophia	2_OriginsAndForm	CQ8	CQ8. When a musical structure, e.g. a motif, is found in two composers, is one copied from the other, or do they come out of a previous tradition?	['hard']
Sonia	1_ExplorationMode	CQ2	With which image/textual information/multimedia/musical piece is the selected musical piece connected to inside/outside the playlist?	['hard']
			-
Sonia	1_ExplorationMode	CQ9	Are there excerpts of the lyrics available for a musical piece? If yes, which are they?	['to-split']
			-
Sonia	1_ExplorationMode	CQ12	Is there a person mentioned in the excerpt of the lyrics? If yes, what background information is available for him/her?	['to-split']
Keoma	1_RestorationAndSoundPractices	CQ20	Using which execution technique(s) is the set of bells played, when played manually?	['complex']
			old
Keoma	1_RestorationAndSoundPractices	CQ7	Are there significant variations in the frequencies between the manually produced sound and the electric sound, such as to have repercussions on the soundscape?	['hard']
Sethus	2_CreateRelevantCorpus	CQ1	Search operations should be expressed on either raw-level features (eg melodic lines) or higher-level features (eg modes, cadences, triad patterns, etc.). The systm should retrieve efficiently all sources that match the search pattern, and identifiy pattern occurrences	['incomplete', 'hard']
Sethus	2_CreateRelevantCorpus	CQ2	A subset can be hierarchically refined based on criteria independant from on another and independant from the initial search pattern. The user can navigate in this hierarchy and refine the search.	['incomplete', 'hard']
Sethus	2_CreateRelevantCorpus	CQ3	At each step, the result set takes the form of a subcorpus organized according to rich relationships, and enriched with user annotations	['incomplete', 'hard']
Sethus	2_CreateRelevantCorpus	CQ4	A result set can be stored (in intention, not in extension) as a Relevant Corpus, and its definition can be revised at any moment	['incomplete', 'hard']
Sethus	2_CreateRelevantCorpus	CQ5	navigating through a Relevant Corpus is based on anotation and search patterns	['incomplete']
Sethus	1_ConflictingTheoreticalInterpretations	CQ1	To which modes Vide homo has been assigned to in Tonalities? Leonhard, Bernhard, Harold, Siegfried, Frans and Alexander relate the motet to the tonus peregrinus. Robert, however, considers the work to be written in the mixolydian mode.	['hard']
Sethus	1_ConflictingTheoreticalInterpretations	CQ2	Are the criteria on which these interpretations are based true in the score and, if so, to what extent?	['to-split', 'complex', 'hard']
			- What are the cadence points in the work?
			- What are the part’s ranges? Do they correspond to modal octaves?
			- What is the final of the bassus?
			- What is the last chord?
			- Are there any melodic patterns related to modality?
			- To what diatonic environment does the work belong to?
			- What are the part’s clefs and keys?
			- Are the theoretical models on which these criteria are based – for example the Zarlinian cadential scheme ^1-^3-^5 – in line with this work?
			- What is the tension between the expected theoretical criteria and their actual realisation in the work?
Sethus	1_ConflictingTheoreticalInterpretations	CQ3	Can one assume that the modal ambiguity evidenced by the analytical interpretations is intended? Harold sees, for example, the use of modes in Lagrime as a religious symbol. Alexander suggests that Tansillo's texts set to music by Lassus can be read as an examination of conscience, advocated by post-Tridentine spirituality. Can these hypotheses be substantiated on the basis of Polifonia's analytical and heritage knowledge?	['to-split', 'complex', 'hard']
			- Where does the work appear within the cycle?
			- What do we know about this cycle and its place in Lassus' output?
			- Which poetic text is set to music?
			- Has this poetic text been set to music before?
Sethus	1_ConflictingTheoreticalInterpretations	CQ4	Apart from Lasso’s possible exegetical intentions, what does this work tell us about the status of the modes at this moment in the history of composition?	['to-split', 'complex', 'hard']
			- Is the modal ambiguity observed here frequent in Lasso’s output?
			- Do other works come close, in terms of their inner properties, to what is observed here?
			- Is the ambiguity observed here specific to particular groups of works?
Sethus	3_ConflictingAnalyticalAnnotations	CQ1	To which modes Vide homo has been assigned to in Tonalities? Leonhard, Bernhard, Harold, Siegfried, Frans and Alexander relate the motet to the tonus peregrinus. Robert, however, considers the work to be written in the mixolydian mode.	['hard']
Sethus	3_ConflictingAnalyticalAnnotations	CQ4	What are the part’s ranges? Do they correspond to modal octaves?	['to-split']
Sethus	3_ConflictingAnalyticalAnnotations	CQ10	Are the theoretical models on which these criteria are based – for example the Zarlinian cadential scheme ^1-^3-^5 – in line with this work?	['hard']
Sethus	3_ConflictingAnalyticalAnnotations	CQ11	What is the tension between the expected theoretical criteria and their actual realisation in the work?	['complex', 'hard']
			[Metadata section]
Valeriana	1_DiscourseAnalysis	CQ1	What was Wagner's first performance in Bologna? On what date?	['to-split']
Valeriana	1_DiscourseAnalysis	CQ2	What was Verdi's first performance in Bologna? On what date?	['to-split']
Valeriana	1_DiscourseAnalysis	CQ7	What were the critical reactions to event X (or Y)? Are them positives?	['to-split']
Amy	1_OrganTrends	CQ1	What are geographically distinct features of organs from region X? (e.g., in what differ 17th century Southern German organs from 17th century Spanish organs?).	['to-split', 'hard']
David	1_MusicHistorian	CQ12	Who was the author of a piece of music?	['to-split']
			e.g. can we identify it by its incipit?
Ralph	1_WordsAndMusic	CQ4	How does the presentation (text and music) of a work, e.g. an operatic aria, change over time, and depending on the artist?	['hard']