Bibliographic record
Abstract
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. …
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How this classification was reachedexpand
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 | 0.000 | 0.002 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.003 | 0.001 |
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 itClassification
machine, unvalidatedMachine predicted; both teacher heads agree on what is shown here.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".