Contributors to This Issue
Notice bibliographique
Résumé
JADE AMEY is an archivist and photographer based out of Detroit, Michigan. She obtained her bachelor of arts in arts, entertainment, and media management from Columbia College Chicago and a master's degree in library and information sciences with a concentration in archival administration from Wayne State University. She spent several years in Chicago pursuing endeavors in photography, music industry management, and librarianship before moving back to her home state to embark on more academic and artistic undertakings. Currently, Jade enjoys exploring Detroit's music scene, adventuring around Michigan nature, and running a vintage housewares and clothing shop called Hot Tchotchke Vintage.OLADELE AYORINDE is a visiting assistant professor of ethnomusicology at the Department of Folklore and Ethnomusicology at Indiana University. Located primarily in South Africa and Nigeria, his research explores music and music-making as a window into contemporary Africa's complex social, political, and economic development processes. His research interests include urban ethnography, African music and cultures, popular music and music industries, economic ethnomusicology, cultural policy and management, sound studies, Western classical music, the Global South, the political economy of everyday life, archiving and documentation, and issues of transformation and decolonization in Sub-Saharan Africa and the Black diaspora.DAN DIPIERO is a musician and visiting assistant professor of musicology at Ithaca College. His work has appeared in Critical Studies in Improvisation/Études critiques en improvisation, Rancière and Music (Edinburgh University Press), the Journal of Popular Music Studies, Sounding Out!, the Los Angeles Review of Books, the Cleveland Review of Books, and more. His first book, Contingent Encounters: Improvisation in Music and Everyday Life, is forthcoming with University of Michigan Press.E. HUGHES is a Cave Canem fellow and received their master of fine arts and master of arts from the Litowitz Creative Writing Program at Northwestern University. Their poems have been published or are forthcoming in Guernica Magazine, Poet Lore, Indiana Review, RHINO Poetry, the Offing, and Wildness Magazine—among others. They have been a finalist for the 2021 Elinor Benedict Poetry Prize, longlisted for the 2021 Granum Fellowship Prize, and a semifinalist of the 2022 92Y Discovery Contest. They were nominated for a Pushcart Prize and Best of the Net Award. Currently, they are a doctoral student in philosophy at Emory University.HANNAH KRALL is a doctoral candidate of musicology at Duke University. Her musical interests include improvisation and early jazz. She has a bachelor of arts in music from Cornell University and a master of arts in musicology from Duke University. Her current research focuses on jazz clarinet playing in New Orleans and its exportation to cities outside of New Orleans.DARREN MUELLER is an assistant professor of musicology at the Eastman School of Music, University of Rochester. His recent research examines how the circulation of musical information through different media acts to construct racial ideologies. Essays on this topic have appeared in Jazz Perspectives, the Journal of the Society for American Music, the Journal of the American Musicological Society, and Invisible Culture: An Electronic Journal of Visual Culture. His book, At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz, is under contract with Duke University Press. He is also coeditor of Digital Sound Studies (Duke University Press, 2018), which explores the intersection of sound studies, digital technology, and multimodal scholarship.LUKE RIEDLINGER is a doctoral student in musicology at McGill University. His research is focused on jazz historiography, particularly discourses of jazz as a popular music, and strategies for illuminating and disrupting the racialized and gendered hegemonies embedded in the jazz canon. His recent work looks at the late recordings and disbandment of the John Coltrane Classic Quartet, detailing how different bandmembers understood their evolving membership of the ensemble during this turbulent period through a shared concept of masculinity.
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 | 0,012 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,003 | 0,003 |
| Études des sciences et des technologies | 0,003 | 0,001 |
| Communication savante | 0,010 | 0,005 |
| Science ouverte | 0,003 | 0,005 |
| Intégrité de la recherche | 0,004 | 0,004 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,634 | 0,530 |
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 ».