The Ondes Martenot Network in the Twenty-First Century: The Co-Construction of the Ondes Martenot and its Users \n
Bibliographic record
Abstract
The Ondes Martenot has typically been described in academic literature as an obsolete relic of electronic music history. Most sources providing an overview of the history of electronic music or electronic music instruments portray the Ondes Martenot as one of many technical novelties created during the Interbellum’s technology boom, and little more. Invented in the 1920s, the instrument has indeed enjoyed periods of relative success as well as obscurity. Yet, the Ondes Martenot has in recent years gained significant visibility in areas of classical, film and popular music. This thesis delves deeper into the processes behind this uptake, and to do so has explored the history of music instruments through approaches in Science and Technology Studies (STS). After uncovering a social network of users actively involved in securing its future, this thesis applies concepts from the Social Construction of Technology (SCOT) and Actor-Network Theory (ANT) analysing the relationship between the users and the instrument. Interviews with a range of user groups, from players and teachers to makers, repairers and researchers in the two main hubs of activity, Paris and Montreal, provide invaluable qualitative data that informs the bulk of the study. This thesis asserts, firstly, that the Ondes Martenot was never an obsolete instrument, and has entered the twenty-first century as a relatively stable technology. New user groups, technological advancements, the continuing expansion of the repertoire and professional Ondes Martenot teachers continue to strengthen the instrument’s network and secure its survival. Secondly, that an analysis of the Ondes Martenot network demonstrates the co-construction of users and technology. Users are heavily involved in the maintenance of the network, which shapes the instrument, and they are shaped by it in return. And thirdly, that concepts from SCOT and ANT can be combined to analyse the stabilisation of the Ondes Martenot network as it constructs an ever-shifting shared meaning of the instrument.
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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 | 0.002 | 0.004 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.008 | 0.010 |
| Scholarly communication | 0.008 | 0.008 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.004 | 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 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".