With digital transformation, industrial companies today are facing the challenges to change and innovate their business, by leveraging digital technologies and tools to support their processes and their operations. One of their main challenges is the management of the company knowledge, especially when tacit and owned by industry workers. In this paper, we illustrate how knowledge graphs can be the turning point to allow industry workers digitize and exploit the knowledge about the “what”, the “how” and the “why” of their everyday activities.In particular, we focus on the “how” by illustrating the challenges related to procedural knowledge management, i.e., the knowledge about processes and workflows that employees need to follow, and comply with, to correctly execute their tasks, in order to improve efficiency and effectiveness, to reduce risks and human errors and to optimize operations. We also explain the relationship in this context between knowledge graphs and sub-symbolic AI approaches.

Abstract In the music domain, several ontologies have been proposed to annotate musical data, in both symbolic and audio form, and generate semantically rich Music Knowledge Graphs. However, current models lack interoperability and are insufficient for representing music history and the cultural heritage context in which it was generated; risking the propagation of recency and cultural biases to downstream applications. In this article, we propose the Polifonia Ontology Network (PON) for music cultural heritage, centred around four modules: Music Meta (metadata), Representation (content), Source (provenance) and Instrument (cultural objects). We design PON with a strong accent on cultural stakeholder requirements and competency questions (CQs), contributing an NLP-based toolkit to support knowledge engineers in generating, validating, and analysing them; and a novel, high-quality CQ dataset produced as a result. We show current and future use of these resources by internal project pilots, early adopters in the music industry, and opportunities for the Semantic Web and Music Information Retrieval communities.

Understanding large ontologies is still an issue, and has an impact on many ontology engineering tasks. We describe a novel method for identifying and extracting conceptual components from domain ontologies, which are used to understand and compare them. The method is applied to two corpora of ontologies in the Cultural Heritage and Conference domain, respectively. The results, which show good quality, are evaluated by manual inspection and by correlation with datasets and tool performance from the ontology alignment evaluation initiative.