Notice bibliographique
Résumé
We were very happy to be the guest editors for this issue and excited to have the opportunity to work with scholars and professionals from around the world in developing this examination of digital projects. This special issue of Fontes Artis Musicae focuses on digital music projects and it covers a wide variety of topics and displays diverse aspects of the digital world that librarians and scholars may be involved in or come in contact with. When organizing the articles, we have purposely put them in an order that simulates the processes of a digital/digitization project, starting from the coming and the creating of a formal music online presence on the Internet, the setting up of a web-based music documentation database, and culminating in a reflection on how the Internet has changed the way scholars conduct research. We have also attempted to showcase projects from a wide range of countries so that a good part of the world is represented here. In other words, this is truly an international issue that tributes to the greatness of the digital world! The first article, and by Bob Kosovsky from the United States of America, discusses the history of the Opera-L email distribution list, the background of the current opera entries in Wikipedia, and how Opera-L looked at the discussion and complaints about the inaccurate and rather non-professional contents submitted by Internet users on Wikipedia and decided to change things. Thanks to the joint effort of the Opera-L community, over 8,600 opera entries have been greatly improved, enhanced, and corrected to the benefit of all Wikipedia users of this collaboratively-written free Internet encyclopedia. The second article, Challenges to Music Documentation, by Hyun Kyung Chae and three colleagues from South Korea, describes the challenges they encountered when they began working as part of the international project Repertoire International des Sources Musicale (RISM) and registering music data into RISM's Kallisto software. In the article, they elaborate on the detailed setup of their first music education database for East Asian music that now serves as the pioneer project for what has become a unified primary source repository of modern music of East Asia. An innovation of the repository is that it can handle multiple East Asian languages. For developers who are looking to create a searchable database, they can find both practical tips and useful advice used by the team. In the third article, Zong Woo Geem and Jeong-Yoon Choi, also from South Korea, cover the Potential of Music-Inspired Algorithm for Music Document Grouping. This paper is more technical in nature. By going beyond the traditional semantic web, their proposed Harmony Search Algorithm, which numerically simulates jazz musicians' improvisation processes, is suggested as being useful in classifying music sound files or clustering music-related documents with higher efficiency and relevancy. When talking about digitization projects, The International Music Score Library Project (IMSLP) from Canada is a resource upon which many of us rely heavily. Prompted by the recent heated discussion on various listservs, Edward Guo, the creator and leader of IMSLP, gives us A Librarian's Guide to The paper gives us an in-depth overview on how and why this ground-breaking project was born, the philosophy that the creators have behind this project, and some highlights on the special classification and metadata employed that make IMSLP a truly useful adjunct to more traditional paper-based music score holdings. We think this article will make you look at IMSLP and its potential in a different light. In Europe, Jurgen Diet of Germany covers Digitization and Presentation of Music Documents in the Bavarian State Library. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,002 | 0,016 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,002 | 0,002 |
| Études des sciences et des technologies | 0,008 | 0,005 |
| Communication savante | 0,026 | 0,019 |
| Science ouverte | 0,001 | 0,010 |
| Intégrité de la recherche | 0,004 | 0,007 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,156 | 0,051 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».