International Music Score Library Project, Petrucci Music Library
Pourquoi ce travail est dans la base
Une base qui oublie comment elle a trouvé un travail ne peut pas être vérifiée. Voici les voies qui ont admis celui-ci.
Notice bibliographique
Résumé
International Music Score Library Project/Petrucci Music Library. Project Petrucci, LLC. http://imslp.org/wik/Main_Page (Accessed May 2010). [Requires a Web browser, Adobe Reader and an Internet connection]. The International Music Score Library Project (IMSLP), alternatively branded Petrucci Music Library since its relaunch in 2008, is a non-profit project that operates within a simple yet formidable mission, stated prominently on its home page: create a virtual library containing all public domain music scores, as well as scores from composers who are willing to share their music with world without charge. In four short years, it has progressed admirably towards this goal, becoming not only one of largest free online collections of digitized printed music, but also one of fastest-growing, adding on average over 2,000 scores per month. The IMSLP gained notoriety in music community surrounding its tumultuous early history. Founder Edward W. Guo, then an undergraduate classical composition student at New England Conservatory of Music, launched site on 16 February 2006. As it gained popularity, it also caught attention of a large European publisher, several of whose scores had been mounted on site. After receiving two cease-and-desist letters from publisher in 2007, Guo opted to shut down site; as he stated in an open letter to community, the cease and desist letter does not call for a takedown of entire site, but ... I very unfortunately simply do not have energy or money necessary to implement terms ... in any other way. Happily, Guo was eventually able to mitigate complications of disparate copyright terms (as explained below), and IMSLP was re-launched on 1 July 2008, featuring a redesigned user interface powered by MediaWiki, interface familiar to users as that originally developed for use by Wikipedia. SCOPE OF CONTENT Housing over 61,000 scores (downloadable as PDF files) as of May 2010, IMSLP rivals many brick-and-mortar music libraries in coverage. To wit, this figure is displayed prominently on home page, alongside two other constantly-increasing figures: number of works represented on site (currently approaching 25,000) and number of composers whose works are represented (nearly 3,300). The scope is broad, encompassing Western art music from all periods and in all genres. Understandably, as bulk of collection has originated from users' personal collections, nineteenth and early twentieth centuries are best represented. However, a large contingent of living composers has begun to use IMSLP as a forum for disseminating their works, employing Creative Commons licenses. Such a forum effectively bypasses commercial publishing apparatus, and uncovers a treasure trove of new music never before gathered in one virtual space. One young composer in particular, Eric Quezada (b. 1995), is surprisingly prolific, having uploaded over 200 works. To be sure, editorial and vetting mechanisms of traditional publishing are also bypassed in this way; though submissions are monitored closely for adherence to copyright, and/or licensing requirements, no endorsement of musical quality of any particular work is put forth by hosts of site. Accordingly, a discussion tab on each work page allows members of site to contribute commentary and analyses of specific works. Unfortunately, I have, observed that tins lab is being used more for discussions of scan quality and like. Still, function is there for those who might wish to share their particular ideas on Beethoven's Ninth, or to opine on a composer's latest creation. The aforementioned copyright disparities create a potentially misleading picture of score availability, as not all works are in public domain in all geographic areas. Since IMSLP's servers are located in Canada, baseline requirement for score submission is that work in question be hi public domain in Canada, which observes a copyright term of life of author plus 50 years. …
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.
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,001 | 0,003 |
| Science ouverte | 0,001 | 0,001 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,001 | 0,000 |
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 découle