Notice bibliographique
Résumé
The first meeting of the Libraries Branch was on Tuesday, 24 July. The subject was Developments in the Eye. In this session we like to show some developments in the digital world, a follow-up of the presentation done in Dublin, 2011; the very special project on Columbia Sheet Music an almost unbelievable work, all done by the hand of one person and an overview, the basics, of things that ask our attention while working with music materials in the Domain. We ended the session with the election of a new chair for the Libraries branch. The first paper was by Johan Mijs, (Team leader of internet applications-Emerging Technologies, Bibnet, Brussels) on Follow-Up on the Future of Music in Libraries. He began by asking Is there a role for public libraries in the digital music world? What could be a target audience? How are other digital music providers doing? Many questions, few answers . However, due to technical problems the first presentation was cancelled, which we regret very much. Please see this presentation online: http://www.slideshare.net/johanmijs/iamlfuture-of-music -in-public-libraries-follow-up-2012 The second paper was by Terry Horner (Uni-versity of Columbia, Vancouver, BC) on the British Columbia Sheet Music Project The Columbia sheet music project is a collection of about 170 pieces of sheet music about Columbia including its cities, people, other geographic areas and oddities such as the famed Ogopogo, a seamonster like the one in Loch Ness. Its website is: www.library .ubc.ca/music/bcmusic/default.htm. The site gives much information about the project in general. It includes works published from 1868 when Columbia was still a colony to the present. Most of the pieces are unique items found in libraries and archives across Canada, buried in fonds of individuals or groups, or from personal collections. Collectively this project not only preserves a part of BC music history, but presents a social and cultural view of this collection of mostly popular music. Each web page consists of scans of the sheet music and options to listen to a MIDI sound file. Biographical information on each of the composers is given where that information is available. Another 113 items will be added since this collection is being expanded to include works composed by or published in Columbia. Tammy Ravas (University of Montana, Missoula, MT) spoke on Public Domain and Creative Commons Resources for Music. domain music resources are extremely valuable to musicians and scholars because they are no longer covered by copyright thus allowing for a virtually unlimited set of uses without the need to seek permission from rights holders. Although not nearly as controversial, Creative Commons-licensed music materials also comprise an extremely valuable body of works and can include nearly any format. These materials are still covered by traditional copyright law, yet rights holders allow certain kinds of uses of these items without the need to seek further permission. Musicians and scholars can benefit from the flexibility allowed by many Creative Commons-licensed materials. With this paper Ravas demonstrated the basics of using public domain and Creative Commons-licensed music materials in several ways: 1. Definitions of public domain and Creative Commons materials; 2. How to tell if a work is in the public domain or covered by a Creative Commons license; 3. Sources to search for public domain and Creative Commons-licensed music materials; 4. A few potential problems with using public domain and/or Creative Commons-licensed works; 5. Sources for learning more about the public domain and Creative Commons-licensed materials. Ravas provided links to useful free resources: * http://www1.cpdl.org/wiki/index. …
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 | 0,000 |
| Communication savante | 0,000 | 0,002 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,003 | 0,001 |
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 ».