Notice bibliographique
Résumé
IAML lost an outstanding feature of its landscape when Susan Sommer, invariably known as Suki, died in New York on 4th March this year. Suki was greatly loved by us all as much for her personality as for her achievements, though perhaps it was hard to distinguish between the two for in some ways her indefatigable sense of humour and the energy with which she applied it to the work of music librarianship was her achievement. She did not see her profession as a congeries of cataloguing rules and of conventions of good practice but as the means by which good music could be made available to all who needed or wanted it (whether they realised it or not). For her music librarianship was in effect an interaction between her intense love of music and her intense love of people. This shone through everything she did and had the effect of engaging and enthusing all who came across her. It is small wonder that so many colleagues, particularly in the USA, have had warm stories to tell of her friendship. Suki was born on 7th January 1935 and grew up in Greenwich, Connecticut, where her singing voice was quickly noticed by her teachers. Her brother, Nick, recalls that she and two friends started a music project to perform Gilbert and Sullivan operettas in the town. This was entirely produced by children at high school or college and the project continues at the present time. Even at this early stage, Suki had the urge to bring people and music together. After studies at Smith College and at Columbia University (with time out on a Fulbright Scholarship in Florence) Suki joined the Music Division of the New York Public Library at the Lincoln Center in 1961 and NYPL was her base for the remainder of her working life. After obtaining a second Master's Degree from Columbia in 1967 she became Head of Rare Books and Manuscripts in the Division in 1969. Her new post clearly enlarged her horizons since, already a keen member of the Music Library Association of America, she became aware of the international dimension involved in the curating of music manuscripts and started taking an interest in the work of IAML. Suki was not present at my own first IAML conference (St Gallen in 1971) but I met her at my second at Montreal in 1975. We were introduced by a mutual friend who had attended her well-known course in Music Librarianship at Columbia. He remembers how lively the course was and how much Suki was loved by her students--for her the course was not simply a teaching process but an interaction between her experience and the students, each element being as essential as the other. Suki gradually became a regular attender at IAML conferences in Europe after 1980 (she was first Vice-President and then President of the Research Libraries Commission between 1982 and 1988). Anyone who met her at them tended to assume, from her supreme self-confidence, that she was the head of music at her Library. In fact it was only in 1997, after a stint away from the Music Division as Head of the Circulating Collections (1987-1997), that she fulfilled her ambition of becoming Chief of the Music Division, a post which she held from 1997 until her retirement in 2001. Her administrative gifts were undoubted but were quite overshadowed by her ebullient sense of humour and ability to communicate in a way that both made one laugh and yet commanded the attention. …
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) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,003 | 0,002 |
| Communication savante | 0,001 | 0,000 |
| Science ouverte | 0,001 | 0,001 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,028 | 0,016 |
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; les deux têtes enseignantes s’accordent sur ce qui est montré ici.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».