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In recent years, people came across the vast development of the Internet in speed and accessibility, the increase of personal storage, as well as the appearance of numerous applications, sites, and platforms that provide and facilitate access to a huge amount of music. These technological advances, not only have given to a simple user unlimited access to music but have also made convenient the procedures of recording and publishing personally created music to the web.\newline
This great amount of music data existing, that year after year is increasing, necessitates organization. As a level of comparison, to understand the amount of music data, in 2018, the music streaming service \textit{Spotify} provided access to more than 35 million songs \cite{spotify},
while the collaborative metadata database of musical releases \textit{Rate Your Music}, contains data of 1,228,075 Artists \cite{rateyourmusic}.
Of course, this amount of musical pieces is not the real existing, as many artists and/or albums/songs do not appear in these services. Nowadays everyone can compose music, upload and promote it into numerous platforms. From well-known sites targeted for this reason, to personal sites and social media.\newline
This large amount of data needs to be organized and be described symbolically.
After the maybe most important metadata, which is the artist or creator that released the music, the descriptor used is the music genre it belongs to. Music genre defined by Jim Samson \cite{jimsamson} is:\newline
” \textit{A class, type or category, sanctioned by convention. Since conventional
definitions derive (inductively) from concrete particulars, such as musical works or musical practices, and are therefore subject to change, a genre is probably closer to an “ideal type” (in Max Weber’s sense) than to a Platonic “ideal” form. Genres are based on the principle of repetition. They codify past repetitions, and they invite future repetitions.} “\newline