A Quarter-Century of Success: An Interview with H. Robert Cohen, Founder and Director of the Repertoire International De la Presse Musicale (RIPM)
Notice bibliographique
Résumé
English Abstract H. Robert Cohen, founder and director of the international de la presse (RIPM) speaks on the beginnings and development of the project, the achievements, and how it is moving forward to embrace new technologies and offer its clients improved access not only to an annotated index of music periodicals but also full-text access to the periodicals themselves. French Abstract H. Robert Cohen, fondateur et directeur du international de la presse (RIPM), evoque debuts du projet, son evolution, ses realisations, et son integration de nouvelles technologies offrant a ses clients un meilleur acces, non seulement a l'index annote des periodiques musicaux mais egalement au plein texte des periodiques memes. German Abstract H. Robert Cohen, der Grunder und Direktor des International de la Presse Musicale (RIPM) berichtet uber die Anfange, Fortschritte und Leistungen des Projektes. Er beschreibt die Nutzung neuer Technologien zur Verbesserung des Datenzugangs fur Kunden, nicht nur zu den bibliographischen Nachweisen, sondern in der Zukunft auch zum Volltext der Zeitschriften selbst. ********** The international cooperative project Repertoire international de la presse musicale (RIPM) provides annotated indexes to nineteenth- and twentieth-century music journals, through its publications RIPM In Print, RIPM Online and RIPM on CD-ROM. In 2006, RIPM celebrated its 25th anniversary, the publication of its 200th volumes (the first volume appeared in 1988), a database containing over 500,000 annotated records, and the birth of the RIPM Online Archive of Music Periodicals (full-text). As a background to these achievements, I interviewed Dr. Cohen and invited him to discuss RIPM's creation, development, and remarkable success. MB: Who were you 35 years ago, 30 years ago and 25 years ago when RIPM was created? Interesting question. Thirty-five years ago, I was teaching in the Anglo-American Department of the then-new University of Paris XII (Vincennes)--a faculty created after what the French call les manifestations de '68. There I taught, among other things, the history of jazz and the history of English music. It was an exciting time to be living and working in Paris. One of the government-defined goals for the new university was to democratize higher education by making it accessible to those previously unable to attend. In its first couple of years, this experiment was a success. Thereafter, it was less so, with an increase in the number of students and static funding. At the same time I was working on my dissertation for New York University on Berlioz's music criticism, and spending a good deal of time at the Bibliotheque nationale turning pages of nineteenth-century music journals. Thirty years ago I was teaching at Universite Laval in Quebec City, and a few years thereafter at the University of British Columbia where the idea of creating RIPM began to take on a concrete form. MB: Could you tell me what happened 25 years ago--was this one of Barry Brook's project ideas or did the impetus come from elsewhere? During my years in Paris and at Universite Laval, I worked with Marcello Conati on a project, came to know Christoph-Helmut Mahling, initially through my work on iconography, and a number of other European and American musicologists. Over the years we discussed our work on the press and learned that many colleagues were also quite frustrated at the seemingly endless page turning, and that there was a recognized need to create a tool offering access to the press. At the time I thought that was a sufficient condition to move forward and to propose to IAML and the IMS the creation of RIPM. I remember Barry asking me if I knew what I was getting myself into. My response was a shrug; his was a smile. No, RIPM was not one of Barry's ideas but it would be difficult to imagine RIPM without Barry. …
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 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 | 0,001 |
| Communication savante | 0,000 | 0,001 |
| Science ouverte | 0,000 | 0,000 |
| 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 découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, 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 ».