Konik, Marcin, Craig Sapp, Jacek Iwaszko, Marcelina Chojecka, and Emilia Ziętek, creators. Polish Digital Scores
Bibliographic record
Abstract
Despite the rise of world-famous composers such as Henryk Górecki (1933-2010), Witold Lutosławski (1913-94), and Krzysztof Penderecki (1933-2020) in the twentieth century, not to mention the towering Fryderyk Chopin (1810-49) the century prior, the Polish people have repeatedly noted insufficient representation of Polish music in digital repositories.8 Compounding this issue, the turbulent nineteenth and twentieth centuries were particularly destructive for the country's cultural heritage institutions.In the Second World War, the first of the German bombs fell on 1 September 1939, and the country had surrendered to its invaders by 27 September.Within that month alone, numerous libraries in Warsaw and throughout the country were destroyed.While national institutions were able to remove their most valuable collections to Canada, other institutes were not so fortunate.9 The initial destruction caused by bombs and artillery shells was followed up by a concerted campaign by the Nazis to destroy and loot many of the collections that survived.By the time the USSR pushed the Nazis out in 1945, Polish librarians estimated that 66 per cent (15 million) of the country's volumes had been destroyed or looted.10 But the Nazi's culling of Poland's musical heritage was only the start, as surveillance and intimidation were employed behind the Iron Curtain to curate state-approved Polish musical culture until after the so-called political thaw of 1956.11 Given the calamitous events of the past two centuries, Polish Digital Scores is a welcome and much overdue effort to preserve and disseminate the musical artifacts of Polish heritage that have survived, including many works that will be of interest to early modern music scholars and performers.8. Fryderyk Chopin Institute, "About." 9. See Biblioteka Narodowa, "Decimation." 10.Borin, "Embers." 11.One case study in the hazards of music-making in Communist Poland is Mieczysław Weinberg; see Elphick, Music.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.004 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.003 | 0.002 |
| Scholarly communication | 0.006 | 0.005 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.033 | 0.019 |
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; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
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".