In this project, you will develop an entity-relationship diagram (ERD) for the attached case. "Draw" an E/R diagram for the songs domain described below. In your diagram, clearly identify the entitysers, relacuship scis, multiplicity (e.g., many-one's & Mary-many's), attributes, keys, and and additional constraints, using the notations and diagramming rules as described in the textbook and in class. E/R Dialects The textbook and our examples in the lectures uses the "Stanford" style of L/R modelling. Note that there are many dialects of E'R, however. For consistency, for this project, you must adhere to the Stanford (the textbook's) dialect. A different textbook was used previously in this course at York a while buck which used a different dialect of E/R (the "Wisconsin" dialect). So there is 3421" material around with E/R examples written in the Wisconsin dialect. The two dialects are not significantly different, but there are notable syntactic differences. Feel free to use these for studying and for reference, of course. But be aware of the differences. And again, do your work in the Stanford dialect. Requirements Congratulations! You have been hired by the Canadian Mechanical Rights Reproduction Agency (CMRRA) as a database-design expert. For your first assignment, you are requested to design a schema (as an E/R diagram) for a database of songs on albums for popular music from 1950 to 2000. The Songs Domain A song has a title and a genre; it is distinctly identified by its title. A song may be recorded ("performed") in a recording studio to appear on an album. Such a recording can be identified by the song's title and the album's title. Each recording is done by musicians who play instruments on the recording. (Let us consider "voice" as an instrument for crediting musicians who sing on the recording.) Note that a musician may play one or more instruments on a given recording. Lastly, a recording may be backed by an orchestra (in addition to the musicians participating in the recording). An orchestra is identified by its name, also note its conductor, size, and address. A recording charts if it appears on one of the music charts (e.g., "Canadian Hot 100" and "Official UK Top 40") in a given weck at a given rank (eg, "Number 11"). A chart is identified by its name. A song has been composed by one or more artists. (It is common, for instance, for one person to write the lyrics and another the musical score.) Keep track of the role of an artist who composed a song. For musicians, keep a name and hometown. For artists who are musicians, as well keep additionally bio ("biography") and homepage. Albums have a title, its number of tracks ("recordings"), and its year produced. An album is produced by a record company. For a record company, keep its name, address, Honepage and a landline telephone number: it is identificd by its name. An album is identified by its title and lahel, a synonym for the record company that produced it. In this project, you will develop an entity-relationship diagram (ERD) for the attached case. "Draw" an E/R diagram for the songs domain described below. In your diagram, clearly identify the entitysers, relacuship scis, multiplicity (e.g., many-one's & Mary-many's), attributes, keys, and and additional constraints, using the notations and diagramming rules as described in the textbook and in class. E/R Dialects The textbook and our examples in the lectures uses the "Stanford" style of L/R modelling. Note that there are many dialects of E'R, however. For consistency, for this project, you must adhere to the Stanford (the textbook's) dialect. A different textbook was used previously in this course at York a while buck which used a different dialect of E/R (the "Wisconsin" dialect). So there is 3421" material around with E/R examples written in the Wisconsin dialect. The two dialects are not significantly different, but there are notable syntactic differences. Feel free to use these for studying and for reference, of course. But be aware of the differences. And again, do your work in the Stanford dialect. Requirements Congratulations! You have been hired by the Canadian Mechanical Rights Reproduction Agency (CMRRA) as a database-design expert. For your first assignment, you are requested to design a schema (as an E/R diagram) for a database of songs on albums for popular music from 1950 to 2000. The Songs Domain A song has a title and a genre; it is distinctly identified by its title. A song may be recorded ("performed") in a recording studio to appear on an album. Such a recording can be identified by the song's title and the album's title. Each recording is done by musicians who play instruments on the recording. (Let us consider "voice" as an instrument for crediting musicians who sing on the recording.) Note that a musician may play one or more instruments on a given recording. Lastly, a recording may be backed by an orchestra (in addition to the musicians participating in the recording). An orchestra is identified by its name, also note its conductor, size, and address. A recording charts if it appears on one of the music charts (e.g., "Canadian Hot 100" and "Official UK Top 40") in a given weck at a given rank (eg, "Number 11"). A chart is identified by its name. A song has been composed by one or more artists. (It is common, for instance, for one person to write the lyrics and another the musical score.) Keep track of the role of an artist who composed a song. For musicians, keep a name and hometown. For artists who are musicians, as well keep additionally bio ("biography") and homepage. Albums have a title, its number of tracks ("recordings"), and its year produced. An album is produced by a record company. For a record company, keep its name, address, Honepage and a landline telephone number: it is identificd by its name. An album is identified by its title and lahel, a synonym for the record company that produced it