International Music Score Library Project, Petrucci Music Library
Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
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. …
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.001 | 0.003 |
| Open science | 0.001 | 0.001 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.001 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it